Although the night was suppose to reveal its true colors at 7.30pm, due to some reasons (known to organizers and Smt. Shovana Narayan) the concert began at around 8.30pm in perfect accordance to ‘Indian Standard Times’. But, few in the auditorium could have anticipated the sheer largesse of the occasion.
The first performer: Smt. Shovana Narayan, one of the foremost disciple of the maestro himself : Pt Birju Maharaj. She has imparted ‘Kathak’, a deep canvas of expression and dimension. As she began her performance it was no less than a magical illusion.
If not for her I would have never understood the intricacies linked with classical dance form. What she dealt with was a myriad of emotions, subjects, legends through her bhavs (acts) and left the audience asking for more. The whole act brought out yet another aspect, her oratory. Her explaining of acts before and after the performance was a true representation of her mastery over the subject. She truly took the entire audience on her sojourn.The next performer: Ustad Fahimuddin Dagar with accompanist Pt. Dalchand Sharma on Pakhawaj. Incidentally, Ustadji was conferred with Padma Bhushan by the Government of India this very year, thus paying a tribute to his contribution to Dhrupad style of singing. We were told that the Dagar family has been dedicated to the cause of Dhrupad Sangeet. Now coming to his performance: he began with a hour long alaap in some raga. Although, the classical music deficiency of the audience came to the fore, I personally was appreciative of his consecrated recital. The second half of his performance saw him constantly chiding his accompanist Pt. Dalchand Sharma at his apparent ‘mis taal’. Overall, it must be said that it was truly a masterful execution by a veteran musician.
After light snacks, Ustad Asad Ali Khan Saheb began his Rudraveena recital. He started with a short talk on the time bound nature of classical music. What followed, left the entire congregation mesmerized. Sitting in a taxing posture with his gigantesque Rudraveena, he belted out some melodious ragas. The virtuosity on displayed by the virtuoso left the tired audience with a new lease of breath and purpose.
The next performer: Pt. Vishwa Mohan Bhatt. I knew what was going to strike me. A sense of déjà vu. Earlier, I got to hear the live recital by Pt. Vishwa Mohan during the Virasat series in 2007. That performance was still fresh in my mind as I geared up for more.First of all about his brain child- the instrument itself. Mohan Veena, a transformation of a Hawaiian guitar was a spectacle in itself.
Next, the performance: …As expected, Panditji as always was at his very best. He enchanted the entire audience with the grandeur in his personality and his adept handling of the instrument. His innovative style and his incredible speed created a joyous atmosphere. Every single person in the audience got involved as the Panditji churned out one master piece after another. But, the best was yet to come: As he began playing his opus magnum, the Grammy winning master piece, ’A meeting by the river‘, echoing through the auditorium, every one was visibility on their feet, thundering the auditorium with applause. It was truly a beatific experience marked by utter benignity. I am still in search for appropriate adjectives to describe my once in life time experience.
The final performance by Ustad Abdul Rashid Khan was our tryst with a mystic and a real test of endurance. Khan Saheb, a centenarian, crippled by time displayed his master class maintaining the magnanimity of occasion with his mellifluous rendition of ‘Khayal’ form of Hindustani Classical. To quote my friend Sharat- “ A hundred year old outclassed all the twenty year olds with his stamina and dedication” was an understatement. This was a fitting grand finale.
What I feel after last night is a transformation and purification of my heart . This was well and truly a liberating and joyous experience of my life time.
I was reminded of a Victor Hugo Quote-
'Music expresses that which cannot be said and on which it is impossible to be silent.'
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