The name of the event was indeed inviting. With the rain clouds giving a break in Mumbai, an evening of different versions of Raag Malhar was pleasing. For those of you who are unaware of the connection between Malhar and the Monsoons, let me share a well-known legend.

At a time when India was at its glorious best in the medieval era with prosperity and riches, when Kings and Dynasties patronised the arts, especially classical music, and when a number of musicologists and artists created musical masterpieces, Indian Classical Music (ICM) flourished. This was an era of discovery and innovation, experiments and miracles. I am going to share one such story about Tansen and his legendary abilities.

The famous legend about Tansen was when Emperor Akbar asked him to perform Raag Deepak, the Raag of Fire. Tansen was said to have astounding abilities and talents with immense control and proficiency over the swars of  Raags and could achieve astonishing feats by singing them. As the story goes, the day of the performance arrived. The court was decorated with numerous oil lamps to be lit by Tansen's prowess over the swars of Raag Deepak that would lead to this unimaginable phenomenon. Tansen began his performance. Soon the Emperor, the courtiers, and the audience started to feel the temperature rise. The water in the pools and fountains began to evaporate. The flowers in full bloom began to wilt and all of a sudden, the countless number of lamps in the court lit up. But Tansen was in such a deep meditative state singing Raag Deepak that he did not realize his body was extremely hot and feverish. 

Through his experience, Tansen had foreseen this situation and had hence asked his daughter who was also his disciple, to be present in the court. As soon as the daughter saw her father in such a condition, she began singing Raag Malha. Raag Malhar is the Raag of the monsoons. The word 'Malhar' in Sanskrit means 'mal' as in impurity and 'har' which means defeater. In simple words, it meant to purify or cleanse. The swars of the Raag (when sung correctly), were said to have the energy to attract and compel the rain clouds to pour down upon the earth. Soon enough as her voice grew stronger and soared, the atmosphere began to cool down. Cool breeze was brought in. The sky darkened and was overcast by clouds. It began to rain. And Tansen was saved.

Although no such feat was achieved, the performances of the artistes definitely drenched us in melodious swars and bandishes (compositions). A completely informal set up was a good start. With no microphones, amplifiers and fancy sound systems, the ambience was cosy and personal. The benefit of such a Mehfil is that the listeners and the performer establish a connection, the listener gets as involved in the music as the performer.

The evening comprised of two vocal and a Sarangi performances. Sriparna Chatterjee, who performed first, has been learning under the guidance of Pt.Ajay and Smt.Anjali Pohankar after her initial years in Jamshedpur. She is a certified music therapist and she sure did soothe some minds with the majestic Raag Miya Malhar. Performing three compositions in this Raag, she opened the recital with a Madhya Lay Ektaal bandish, ‘Barasan Laagi’, followed by ‘Bijuri Chamake’ in Drut Teentaal and a Tarana set in Taal Ektaal. A bonus composition was a bandish in the Thumriang ‘Garajat Barasata Aye Megha’ – set in a Mishra (combined) form of Raag Gaud Malhar and Desh Malhar. Interspersed with Aalaps in sargam and Aakar as well as Bol Alaps, she increased the pace with short fast Taans in the most well-structured manner. Chaterjee eschewed drama, concentrating rather on the relationships between the notes, words, rhythm and the Rus/ feeling of the Raag.  The only drama was her Taans ranging to Taar Saptak Pancham. Her performance felt like the pleasant and welcoming first shower, doing justice do the Raag with a restricted scope to experiment, her voice clear and flowing with only the Tanpura and Tabla (played by Shri Ashoke Shinde) to accompany her.

Following Chatterjee’s performance was a mesmerising Sarangi rendition in Raag Nat Malhar. An impromptu decision to play this Raag by artiste Ghulam Ali, showed his proficiency over the Raag, a result of being the 17^th generation of the Agra-Sonipat Gharana. The historically important Sonipat gharana, also known as the Sarangi gharana has very few members left today. Beginning his performance with the audience’s permission, replete with old-school Adab, he rendered a Madhlay bandish in Taal Rupak followed by a composition in Teentaal. The Gayakiang of his playing style was evident as he developed each note beautifully and ranged Alaps across four octaves. The soft sound (saaz) of the Sarangi felt like a vocalist singing, one could imagine the words that could be sung in the tune of the compositions. The performance resembled a joyful conversation between the artiste and the audience while watching the Sarangi being played up close and personal.

Bringing in the finale of the evening was Ronkini Gupta, a Sangeet Visharad holder from the prestigious Gandharva Mahavidyalay and tutelage from multiple gurus. A winner of the World Series Sa Re Ga Ma Pa, 2004 (Zee TV Ltd), she dabbles in Bollywood music, regional cinema and Classical and Jazz fusion. Explaining the overlapping nature of the all versions of Malhar, she chose to perform the melodious yet melancholic Raag Megh Malhar. She described the introduction of the Raag in Nom-Tom Alapi and Sargam as the onslaught of wind, clouds and rain. With the Sarangi and the Tabla for accompaniment, it was an exciting Jugalbandi between her vocals and the Ghulam Ali’s Sarangi. Presenting two compositions, one in Jhaptaal ‘Garaje Ghata’ and the other in Teentaal ‘Aayo Garajata Badal’, Gupta’s performing style was in stark contrast to Chatterjee’s. Gupta sang in a strong, uninflected voice. Her music was energetic with almost comprising of forceful Taansin Aakar and Sargam, occasionally bringing in Bol Alaps and Taans (varieties using the words of the composition) resembling the thunder showers. Perfecting the arrival of her variations on the Sum (1^st beat of the rhythmic cycle), her mastery of the notes of the Raag was undoubtedly the result of old-school training but also including the impersonal expression of a carefully crafted performance.

Venue: Harkat Studios, Versova 

Date: Saturday, 5^th August 2017

Time: 7.30pm