U.S.-based Cadence Entertainment hasbeen hosting on the web classical music concerts to get annually to a select crowd, mainly at the U.S. and India. They’re broadcast either live or prerecorded in studios before broadcasting, and will also be provided in the future demand, for a minimal fee, on the site. What’s notable is the restaurants include an extensive crosssection of artistes, a lot young. The show has thus much had Nayan Ghosh, Kala Ramnath, Shakir Khan, Satyendra Solanki, Sweekar Katti, Dr. Alka Deo Marulkar, Manjiri Asnare Kelkar, Sanjeev Chimmalgi, Gauri Pathare and Sanika Kulkarni.
a current concert was the the 29-year-old Mumbai-based vocalist Bhagyesh Marathe. Grandson of Pt. Ram Marathe, he’s now under the tutelage of all Hubli-based Pt. Kedar Bodas at the Gangubai Hangal Gurukul, at which 3 6 young students are selected for training by six recognized professionals.
Bhava-rich rendition
Bhagyesh staged raag Bageshwari, also it had been a joy to observe that this kid follow the oldworld thanks to accepting consent from his co-artistes on platform to initiate the concert. He impressed his bhava, odd note routines along with his creative strategy. Especially pleasing were the complicated taans, that had wazan (burden ) inspite of the rate. Mere replicating, nevertheless well-intentioned, necessarily sounds rancid. The vilambit article he staged was their or her own.
His second raag has been Kedara, at which he left two conventional compositions. Perhaps his internalisation with this raag have not yet given him some suggestion advice, but he was in a position to impress his superb management and skill. Sadlythe concert stopped with out an third slice thanks to paucity of time. To the tabla has been Tejovrush Joshi and around the harmonium, Siddhesh Bicholkar.
U.S.-based Samarth Nagarkar, that coached under Aditi Upadhyay at Bengaluru, in addition has learnt by ace Aditi’s daddy, Pt. Dinkar Kaikini, also out of Pt. Ulhas Kashalkar in Kolkata’s ITC SRA.
Discussing the way Hindustani music was booming at the U.S., Samarth imputed the ethnic organisations which have been encouraging Indian classical music for all decades, so rendering it financially feasible for artistes. “We not only get a good audience, we get an well-informed one, and their number is growing. I was once asked by an American in the audience if I had any connection with the late Pt. Nivruttibua Sarnaik (rarely heard outside India) as he felt my taan patterns were similar to his!” Samarth started his concert using raag Bihag. The vilambit Tilwada taal bandish, ‘Ai ma dhan dhan re’, has been a conventional Gwalior gharana piece. Lately, starting his demonstration on the gandhar, Samarth displayed his musical urge. He had been in no rush to unfold every facet with the romantic day raag; preferring to slowly weave magical with his own voice. Excellently, the taans were presented at judicious percentage. The concluding Tarana was Teen taal; again, Samarth managed the drut laya easily.
His next raag was that the Jaipur gharana favourite Basanti Kedar, combination of Basant and Kedar, that for example most ‘jod raags’ is hard to manage. The Teen taal article has been that the original ‘Attar sugandh gulab’. Sensibly singing this temporarily (under half an hour ), Samarth proceeded onto provide a hori, for he revealed that an admirable disposition. Truly, his hori was notable for its legitimacy and he sang it wholeheartedly. He later clarified his genius, Pt. Dinkar Kaikini, enjoyed thumris and horis, and’d learnt this bit from the amazing Siddheshwari Devi herself. He had been accompanied on the tabla by adolescent Vivek Pandya, and also on the harmonium from Rohan Prabhudesai.
Both theatres are on TeamCadenceEntertainment.com; the upcoming on the web concert will probably soon be by Aditya Modak, today famous along with his victory from the film,” The Disciple.
The Delhi-based author writes Hindustani artists and music.