Echoes from the temple courtyard

It is one of the most popular annual music festivals in the country. Apart from this, what makes Sankat Mochan Sangeet Samaroh special is its setting.

Held in the courtyard of the Hanuman temple in Varanasi, the artistes, most of them well-known names, perform for free. The performances are open to all, with the audience seated in baithak-style. The concerts that are held through the night are referred to as hazri, which is attendance at the Lord’s court. This means that bhakti-ras is the essence of the festival and artistes plan their concerts around it. Over the years, the festival has also gained prominence due to the eclectic mix of artistes that it features.

Kuchipudi dancer Vanaja Uday and her troupe made their debut at the festival this year. Among the four pieces they presented, two portrayed episodes from the Ramayana. The concluding piece had dancers performing to Hanuman Chalisa.

Dance was the dominant feature of this year’s line up that included veterans such as Sonal Mansingh and Pt. Birju Maharaj. Among the Carnatic musicians who performed at the festival were Yella Venkateshwara Rao, Kadri Gopalnath and Kanyakumari and U. Rajesh. Sankat Mochan Mahant Prof Vishwambhar Nath Mishra said that from next year the festival will include Carnatic vocalists too.

Talking about his approach, senior Hindustani vocalist Ulhas Kashalkar said, “I do not tailor my concerts to suit audience taste. As an artiste, I cannot compromise on my training. An artiste need not worry about his music’s asar (impact).”

His rendering of raga Jog followed by Bahar left the audience mesmerised, with their hands up, they rent the air with cries of ‘Har Har Mahadev’.

‘Taal Yogi’ Pt Suresh Talwalkar provided sensitive accompaniment. It was a welcome change to hear Pt Ulhas Kashalkar on this stage at 10.30 pm, as he usually performs a pre-dawn concert.

Sarod artiste Pt. Narendra Nath Dhar performed at the festival after a gap of nine years. After the demise of Pt. Buddhadev Dasgupta earlier this year, Dhar is seen as the main repository of Pt. Radhika Mohan Maitra’s musical treasure.

Traditional style

With strict adherence to the confines of the raga, his singing evoked memories of his guru. In his dawn concert, Dhar drew a beautiful picture of raga Basant Mukhari (a combination of Bhairav, first four notes and Bhairavi, last three notes).

The second raga chosen was Sindhu Bhairavi. The audience wanted more and requested a ‘dhun’ (a light tune). Dhar came up with an expected response, typical of the uncompromising taalim that he represents. He said, “I don’t play dhuns.”

The only other sarodiya at the festival was Shiraz Ali of the Maihar tradition, accompanied by Banaras’s own Badri Narayan.

Hindustani vocalist Shubhra Guha performed for the first time at the festival. Her Todi bandish ‘Ab mori naiya paar karo’ was a composition of Ustad Tanras Khan. Shubhra’s improvisations, especially the famous Agra ‘bol baant’, struck an instant chord.

Sitar artiste Niladri Kumar presented raga Tulsi Kauns, a creation of his father Pt. Kartik Kumar, who had played it on this stage many years ago. Niladri’s presentations were full of unexpected twists and dramatic improvisation. Though he did not resort to fusion music, which he is known for, his presentation was not tedious.

The next piece was his own creation, a combination of Tilak Kamod and Nat; his creativity took his composition to newer heights with hints of Des too. Interestingly, as Niladri reached the crescendo, the skies opened up.

Already drenched in melody, the audience of over 2,000 seated outdoors were soaked in rain as well.