The startling new discovery in the world of classical instrumentalists for Delhiites at the just-concluded LNJ Bhilwara Group’s two-day festival was 25-year-old sarodiya Abhishek Borkar from Pune, who opened the festival.
Abhishek is the son and disciple of Shekhar Borkar, who learnt under Ustad Ali Akbar Khan. Widely recognised in Maharashtra, he is little known in Delhi, despite having performed here earlier. He played Raga Gaoti, which is not regarded as a major raga, but as he disarmingly said after his concert “I was taught it in a very complete way, and never felt it had any limitations in terms of presenting it as a main piece.” Certainly his handling never showed repetition; it was an intellectually crafted portrayal, using phrases as the central theme in a most cerebral yet appealing way.
He expanded the raga fully during the gats; all his own compositions; eschewing a long aalap jor jhala, using the time at his disposal most intelligently. His touch has a very melodious tone, the strokes clear, never muffled, the mood creditably, given his youth, one of unusual chain (peacefulness). He is proud of trying to create a unique sound of his own, concentrating on sitar strokes and sarangi techniques but I felt he should not forget to display sarod baaj as well, something he is perfectly capable of, and which came through in the subsequent pieces he played during Raga Zila Kafi. Here the compositions were traditional, including a most lyrical Shajahanpur gat. His handling of the entire concert showed a most unusual maturity, in addition of course to the technical control of his instrument, and shows great promise. On the tabla was Ustad Akram Khan who showed the grace of his lineage by providing exactly the amount of support required to enhance the performance.
Pt Venkatesh Kumar, the Kirana gharana exponent from Dharwar, with his wonderful resonating baritone is without doubt one of the finest singers of our times. Sadly, the evening’s concluding recital by him was not one of his best; he was frequently disturbed by the sound system during his opening piece. After his second piece, Raga Durga, sung with the bhaava for which he is loved, he essayed a variety of lighter pieces, a thumri, some bhajans, but somehow his magic was missing. On the tabla was the redoubtable Bharat Kamat and harmonium Dr Vinay Mishra.
The concluding evening started with Banaras’s Ajay Prasanna on the flute, accompanied by Pt Ram Kumar Mishra also from Banaras. The beautiful notes of his Raga Aiman (Yaman) were followed by a traditional chaiti. Prasanna is undoubtedly versatile, lyrical and enjoyable.
Ustad Shujaat Khan who followed, is known for the elegant graceful manners of his family, and etiquette which has been developed over centuries and which is as much a part of the maahaul as the music itself. Shujaat asked permission to start his recital from the younger musician in the audience, Abhishek Borkar. These small gestures of courtesy that make Hindustani music unique are important; and one hopes will be preserved by the younger generation as well. Incidentally, Ustad Shujaat Khan had maintained another old tradition that is now fast being forgotten by sitting all through the concerts the earlier evening — listening to one’s fellow artistes at a festival whether younger or older, was a norm practiced earlier; now it is almost never observed in Delhi.
He played an extensive aalap jor jhala in Raga Charukeshi followed by some compositions, including one by his uncle, the iconic Ustad Amir Khan who had taught him Charukeshi. Another point of etiquette that Shujaat sahib commented on, was giving credit for ones repertoire — it is the done thing to state from whom one has learnt something; it in way detracts from your greatness as an artiste. Indeed, having the receptivity to absorb from another musician is a sign of greatness. He rued nowadays no body acknowledges others. On the tabla was Mumbai based Amit Chaubey of the Punjab gharana, and Delhi based Shakir Mustapha, grand nephew of Ustad Ahmed Jan Thirakwa. The evening ended with a small jugalbandi, a light piece bringing in compositions of Kabir and Amir Khusrau amongst others.
The writer writes on music, musicians and music matters
