Compositions Of Pandit Amarnath
Turning to the recitals, I must say Amarjeet surprised me with the way she sang. She is about 60 years of age, but her sur was all along steady and tuneful, even in the singing of such sargam-s as are intentionally deepened with a touch of gamaka as commonly understood in the North. She rightly opened with a bandish in raga Marwa— I say, rightly, Mahendra Sharma because it was probably her teacher's most favoured raga. Then she presented compositions in Kaushik Ranjani (a melody quite new to me), Pooria Kalyan, Maru Bihag and Sivaranjani. The rhythm of most of these pieces was madhya laya Tritala; and so their structure was manifestly symmetrical. Nowhere could I see that excessive slowness of pace which makes it difficult for the listener to follow the course of rhythm, but which was surely typical of Amir Khan's singing. Patterns of note-names were frequent; and, what is more, they were all along woven in the way of Amarnath. However, Amarjeet's handling of rhythm did not quite match her proficiency in melody. Mahendra Sharma's contribution to the concert was a revelation to me because I did not expect such excellent music from a vocalist who is not quite well-known.
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