Ayodhya Music Residency

There is something about a residential music retreat that inspires total immersion, a one-pointed focus, and a willingness to be fully absorbed. This affects the listener and the performer alike. There is a commitment from both to total dedication, an exclusive focus that should result in meaningful interactions. This is exactly what one experienced as a listener at the first-ever three-day music residency organised in Ayodhya.

Organised by the Pune-based Abhijat Music Forum, it was a risky endeavour, as the audience was almost entirely from outside Ayodhya. The logistics of venue, sound system, stay for the audience and artists, and food arrangements, which were sourced from Pune, were major constraints. However, Ayodhya as a venue was selected as it would be inspirational for the artists and incite them to present something appropriate and novel. Mukund Athavale, the brains behind the organisation, said, “It was a huge challenge for us, as we knew nobody in Ayodhya. But it went off well, and everybody was really happy.”

There were around eight concerts every day, starting from 6:30 am and going on till after 10 pm. As such, it demanded total concentration. To hold audience attention, the concerts were carefully organised to provide variety – thus, after a vocal concert, there was a dance performance; after an instrumental performance by a maestro, there was an interview. The aim was also to introduce young artists who need a platform, and serious, seasoned listeners. It is so much easier to hear established musicians whose work one is familiar with, but it is also a duty to hear upcoming musicians who need the confidence that being appreciated on such a platform gives.

The first morning started at 6.30 am with a vocal concert by Yashaswi Sarpotdar, senior disciple of Padma Talwalkar. Yashaswi has a powerful, sweet voice, and also a measured control in her concert progression. One wishes one would hear more of her, as she is indeed a fine, seasoned singer. It was the perfect start to a day filled with music. She began with raga Todi, singing a beautifully appropriate traditional composition. She then moved on to Bhatiyar and then Alhaiya Bilawal. She was accompanied by Ramdas Palsule on the tabla and Milind Kulkarni on the harmonium, both experts.

Next was Kolkata-based flautist Parmanand Roy, trained in the Maihar gharana. He played Komal Rishabh Asawari, accompanied by Charudatt Phadke. A vocal jugalbandi by two singers from different gharanas captivated attention – Pooja Bhakre and Sayali Talwalkar. Good friends with the necessary mutual respect, the duo sang to complement each other, resulting in a pleasing concert. The ragas were Ahirbhairav and Hindol. Singing Ahirbhairav after Todi was a bit surprising, but given that both were stretching themselves on stage in the duet, the transgression was understandable.

Ram Marathe’s grandson Bhagyesh Marathe, easily one of the finest male singers today, took the stage next. Bhagyesh has a polished concert repertoire and great voice control. He sang raga Vrindavani Sarang, then Hindol Bahar. Somehow, the raga contours of both spring ragas, Hindol and Bahar, did not merge as seamlessly as one would have expected. The first composition was a Jaipur gharana one, Mayeri aaj, and the second a drut teen tala bandish, Kanak boond.

The music continued late into the night. An unusual concert on the jaltarang by Milind Tulankar was rare, as this instrument has almost become extinct.

The next day’s morning concert was by Jaipur-Attrauli senior vocalist Ashwini Bhide Deshpande. As expected, she did not disappoint, starting the concert with a beautifully etched raga Ramkali. Her detailed elaboration of all aspects of the raga was a true delight. She next sang a dhammar in raga Lalit Pancham. Ramdas Palsule on the tabla accompanied her in the manner of the pakhawaj for a short spell, before reverting to traditional theka, which has now become the norm in khayal accompaniment. Composed by Kishori Amonkar, Chela na rang daro, in Ek taal was unusual, with the pick-up from the seventh beat.

Ashwini ended with a self-composed raga, Vibhavati, a combination of Ahirbhairav, Bairagi Bhairav, and Bibhas. The first composition was set in nine-and-a-half beats. Ashwini’s concerts are always intellectually stimulating as well as melodious, and an easy listen. Rutuja Lad, her disciple who accompanied her, was wonderful. The appropriate accompaniment reminding one of how Ashwini’s mother, Manik Bhide, used to accompany her guru, Kishori Amonkar. Rutuja’s solo concert the previous afternoon had been equally impressive.

Siddhartha Belmannu has a wonderful, well-rounded voice, grasp of raga, and great vocal dexterity. He sang Bilaskhani Todi.

One appreciated the difficulty faced by the relatively young singers in presenting something that would hold audience attention, as there were so many back-to-back concerts. There was a preponderance of vocal concerts – 14 out of a total of 22.

The seasoned vocalist Manjari Asnare chose the somewhat rare raga Barwa as her main piece, moving to an even more practically extinct raga, Barari, composed by the founder of her gharana, (Jaipur Attrauli gharana) Alladiya Khan (1855–1946).

Manjari said, “I have attended residencies before and know it is boring to hear the same ragas repeated, so I made sure I sang something novel.” Vocal accompaniment by her disciple Devashri Navaghare was good, while the extremely talented Anant Joshi on the harmonium added to the concert. Ramdas Palsule was on the tabla.

Sarodist Basant Kabra, a rare disciple of Annapurna Devi, played a rare form of raga Asavari for the first time on stage. “It was taught this way by my guru,” he said before playing, “and I am going to play it here, in Ayodhya, as I was taught.” It had both rishabs. He played an impressive alap jor jhala in the raga, combining soulful dhrupad ang meends with robust bolkaari. Keeping the unique flavour of the raga alive subliminally, the maestro then shifted to Bhairavi, with the same notes. In this raga, his treatment was austere, not reducing it to a short concluding tukra piece. His compositions were both in Teen taal, old Senia gharana compositions. Most of the audience were in awe of his uncompromising integrity. Participating in a residential festival for the first time, Basant Kabra shared, “I felt happy to perform here, as all the listeners were music lovers and knowledgeable. As a performer, it was important to get feedback from artists and listeners.”

Quite a few performers relied on the magic of the place to dictate their musical choices, singing compositions in praise of Lord Ram. In raga Todi, it was the traditional Ab more Ram by Yashaswi Sarpotdar. Manjari Asnare specially composed Laaj rakho, hey more Ram in raga Barari for the occasion. Shruti Vishwanath Marathe sang two compositions in praise of Lord Ram, Raghukul reet sadaa chali aa rahi, praan jaaye par vachan na jaaye, and Awadhpati Ramchandra. The feeling seemed to be that the place was the focus for listeners, so being reminded of the Lord through lyrics could only be pleasurable.

Concerts by Shahid Parvez on sitar, a tabla solo by Anindo Chatterji, and dhrupad by Uday Bhawalkar were other highlights of the festival. The pakhawaj solo by the young boy Mauli Alandikar was an eye-opener. Krishna Salunke, disciple of Suresh Talwalkar, with his team of percussionists, brought in a burst of energy, including singing Siva and Ganesa pakhawaj parans.

From the artist’s point of view, it was a rare opportunity to totally immerse in the art form, to hear peers as well as younger performers. Veteran vocalist and senior-most singer of the Jaipur Attrauli gharana, Shruti Sadolikar, who concluded the festival, felt, “It is a duty to hear the younger generation and be available to them for guidance or praise. Being here for all three days, listening to everyone, interacting throughout the day, is rare in these times. As a young performer, my elders gave critical, constructive advice; I am now doing the same. I heard several young singers whom I had never heard before. It is interesting to see what path they are taking.”

Her concluding concert of the festival included raga Jaitshri, followed by another speciality of her gharana, Bihari. She then sang Kaunsi Kanhra and ended with a hori thumri in Bhairavi, Daro na mope rang.

Listening to classical music should involve interaction from the audience. It is an ever-evolving, improvised art form that feeds off audience reactions. A closed-door, intimate baithak-style event like the Ayodhya Music Residency ensured the best environment for both performers and listeners. However, the nearly non-stop exposure to concerts for almost three full days did not allow full assimilation of the music or a balanced assessment of the artists’ calibre, many of whom one heard for the first time. The experience was more akin to “binge listening” rather than absorbed listening, but it is still to be thoroughly recommended for music lovers. The team of Abhijat Music Forum deserves accolades for persevering in their endeavour to promote classical music.

(Writes on music, musicians and matters of music)

PHOTOS: KANNAN REDDY