Many Melodies

Harballabh Sangeet Sammelan has always attracted music lovers from all over the country. This 123 years old festival held at Devi Talab M...

Harballabh Sangeet Sammelan has always attracted music lovers from all over the country. This 123 years old festival held at Devi Talab Mandir in Jalandhar last month has no parallel in recent history of Indian classical music. A massive crowd had gathered to see a galaxy of virtuosos who graduated to stardom in their respective disciplines.

Spic-Macay, a society promoting India classical music and culture amongst school and college students, had organised the alternative winter convention from the 25th to the 27th December 1998 at Devi Talab mandir in collaboration with Harballabh Sangeet Sammelan. Besides the discussion on the various activities, the main idea was to provide an opportunity to the children and others to overnight performances by well known artistes like Ustad Farid-uddin Daggar, Rajan and Sajan Mishra, Debu Choudhury, Bhajan Sopori, Prabhakar Karekar and others.

The festival opened with a sehanai recital by Daya Shankar and party. He was impressive in his rendering of Raga Marubehag. Although he could not touch the magic of Ustad Bismillah Khan it must be said that Daya Shankar has evolved a style that has good technical control and his understanding of treating the raga.

A fine representative of Dhrupad gayak, Ustad Farid-uddin Dagar dominated in this singing style. Dagar8217;s presentation of raga Bhoopali run the gamut on vistaar development of musical notes. The sheer exuberance and virtuosity of his singing has delighted audiences all over the country. He was very clear about raga conformation, layakari and bandish. Sukhwinder Singh Namdhari, the disciple of Pandit Krishen Maharaj, who propounded the style of tabla playing known as Banaras baaz, regaled the audience with his inimitable excellence on the instrument. A graceful programme of vocal and santoor followed by Rajan-Sajan Mishra and Bhajan Sopori. The Mishra brothers personalities in khyal gayaki was so varied that their forte was to weave patterns in a room with a supurb combination of sur, laya and bhav.

Bhajan Sopari was excellent on his santoor. He started by playing his favourite raga Jog. His layakari, tihaiyan and taans displayed his masterly touch right from the alaap, jod and jhala to playing of gat. Tilak Raj and Dal Chand were equally good in their sangat on the tabla and pakhawaj.