Music review: Evening melodies by Vidushi Apoorva Gokhale BY SHREERANGA N KATTI

Swara Sankula Sabha presented a classical music concert as per its monthly array of music concerts.  Vidushi Apoorva Gokhale of Mumbai hailing from a family of musicians, a granddaughter of Pt Gajananarao Joshi, started learning music at the tender age of five years from her father Manohar Joshi. She also took music lessons from her Uncle Pt Madhukar Rao Joshi. 

Vidushi Apoorva is blessed with mellifluous voice of abroad range capable of traversing in all the three saptakas. One can notice a blend of Gwalior, Jaipur and Agra Gharanas in her renditions.

Vidushi Apoorva commenced her evening concert with Raag Pooriya, an Oudhava Raga that belongs to Thaat Marva. The vadi-samvadi swaras are ‘Ga’ and ‘Ni’ respectively the raga is gambheera in nature and spreads in Mandra and Madhya saptakas. Apoorva presented an elaborated Aalaap of the raga  and a vilambit composition “ Malaniya goonda lavo” set to taal zomra of 14 beats cycle, followed by a dhrut composition “Kais eke manavoo apani piya ko” set to teen – taal of 16 beats. The artist, however, didn’t feel at home in her rendition, may be due to the disturbances in the sound system.

The second number was raga Shyama Kalyana, an evening melody that belongs to Kayana-thaat, an oudhava-samoorna raga. The raga employs both the varieties of madhyamas with ‘Pa’ and ‘Sa’ as main notes. The raga is very close to raag Shudda Saranga an afternoon melody.

She presented the raga with a systematic, elaborated and impressive aalap with swara-sangatis. Vidushi Apoorva presented a vilambit composition “Sakhi madana samzavoo” set to taal-Tilawada of 16 beats. The ‘upaj’ rendering was adored with apt sargams with beautiful layakaries with short impressive taans. She then presented a dhrut composition “Pakarata more banyya kaiso sataye Kanha”. The dhrut rendition was amazing with impressive sargamas and apt layakaries and taans. She did full justice in the rendition and it was a memorable “Shyama Kalyana”, both connoisseurs and rasikas enjoyed the performance.

The third number was a rutu–ka-raag ‘Jayant-Malhar’, a beautiful blend of raga Jayajayavanti and Malhar. She presented a Madhya laya Zaptal-10beats composition “Ritu Barakha Aayee” followed by a Dhrut teental composition “Ritu Aayee savanki”. The rendition was filled with melody and apt for the season. Rasikas acknowledged the rendition with applause.

She then presented a Kabir bhajan based on raaga ‘Bhoopeshwari’ said to bhajantheka. The raaga Bhoopeshwari employs komal dhaivat in the scale of raaga Bhoopali. The bhajan was almost like a raagamala with shades of many raagas and was very impressive. She concluded the recital with a bhajan in raaga Bhairavi set in teental with composition ‘mahadeva maheshwara devenabati ‘.

Overall, it was a successful concert. Pandit Udayaraj Karpur provided an apt saath-sangat on tabala and Pandit Ravindra Katoti of Bangalore was on harmonium. Kumari Sunitha Heremath and Kumari Gowri were on Tambura.                                

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