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By Music - Payel Sengupta
  • Published 19.04.14

The resonance of the musical streams of both north and south India was created through a string performance at the Vivekananda Hall of the Ramakrishna Mission in Golpark. The jugalbandi between the violinist, Ganesh Rajagopalan, and the sarod maestro, Tejendranarayan Majumder, was an exceptional experience for the audience.

The jugalbandi between the musicians started with a kriti in the famous Raga Nadasarali, which is from south India and resembles the north Indian Raga Jhinjhoti. The coordination of the artists onstage was praiseworthy; the elaboration of the kriti with the beats and the rhythm of the tabla and mridangam set the mood for the evening. Both Tejendranarayan and Ganesh tried to capture their listeners’ attention by touching the intricate key notes with the utmost finesse.

The next performance was the most arresting. It was in the Raga Bhimpalashree. The presentation of the alaap, jor and jhala in the artists’ stylish and skilful ways portrayed the inner life of the raga. While Ganesh’s playing was gorgeous, Tejendranarayan’s was soothing. Then, when Tejendranarayan gave a commanding performance, Ganesh held on to the charm in a calm, controlled manner.

The two artists were in sync with each other, and created a superb combination of the violin and the sarod. They played gats in madhyalay jhanptaal and drut in teentaal. Tejendranarayan’s mellifluous vistaars in three octaves overshadowed Ganesh’s performance at first. But then the latter picked up the energy and gave different shades to his performance.

On the mridangam, Satish Patri gave an electrifying performance; Shubhankar Banerjee on the tabla was mesmerizing, too. The thaniyavartanam — the variation in taal and laya — was enjoyable. But the musicians did not end the performance with this amalgamation of reverberation and rhythm. They concluded with a stunning jhala, which made the programme unique.

The sitarist, Purvayan Chatterjee, in concert at Kalamandir with Shubhankar Banerjee on the tabla, impressed audiences. Purvayan played the alaap, jor and jhala in the south Indian Raga Latangi, the rendition of which was very similar to the north Indian Raga Vasanth. Purvayan’s alaap made a mark owing to its variety and spontaneity. His gat in Rupak was interesting, but the gatkari could have been shortened. The performance was dominated by Shubhankar on the tabla; his spark and expertise enthralled the audience.

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