Pittsburgh_Patrika_July_2015

The Pittsburgh Patrika, Vol. 20, No. 4, July, 2015
Samarth Nagarkar’s Enjoyable Recital
Note: Ahiri Ghosh, a 7th grader, learns Hindustani classical from Smt. Nidrita
Mitra-Sinha at the Saptak Music School.
Chhandayan, dedicated to Hindustani classical music, kicked off the
2015 season with an enchanting
vocal recital by Samarth Nagarkar,
disciple of Pt. Ulhas Kashalkar,
on Saturday, May 23, at Samar &
Mala Saha’s home in Irwin, PA.
Dibyarka Chatterjee, disciple of Pt.
Samir Chatterjee, was on the tabla.
Rohan Prabhudesai (not in the picture)
was on the harmonium. Their
recital showcased their understanding
of the nuances of Indian classical music. Nagarkar demonstrated styles
from the Jaipur and Gwalior gharanas.
Nagarkar started with the Raag Bihagada in thaat Bilawal. Bihagada
is a close relative of Raag Behag, but applies Komal Nishad. Starting with
an alap, he slowly transitioned into a Vilambit Teentaal (16 beats), and
ended the piece in Drut Teental, skillfully demonstrating creative taans
with Gamak.
Nagarkar then moved onto a seasonal raag Basant Bahar, a mixture of
Basant and Bahar in a true sense. He started off this gorgeous raag with
an alap, followed by a piece in Vilambit Tilwara (16 beats). Nagarkar
concluded this raag with another Drut Teentaal.
After a brief intermission, Nagarkar continued with lighter pieces. Accommodating
requests from the audience, he started with Raag Chayanat,
with an alap and a graceful song in Vilambit Jhumra taal (14 beats). Nagarkar
followed it by the layakari sung using words, moving into a Tarana
in Teentaal. The taans and gamak were incredibly crisp and fast.
Nagarkar then sang a semi-classical piece called Dadra in Khamaj in
Dadra taal (6 beats). His skill in holding high pitches for long durations
was astonishing. After that, he sang a Tappa-style Rabindra Sangeet in Kafi
he learned at the Sangeet Research Academy in Kolkata. Nagarkar moved
onto Abhang (traditional Marathi bhakti literature) in Raag Bhimpalasi,
describing that sorrow and happiness follow in cycles. His last piece was
in Raag Bhairavi, with a twist by singing a fast-paced Bandish ki Thumri
set in drut Ektaal (12 beats) that left his audience in a joyful mood.
After the concert, the Sahas hosted a delicious dinner giving opportunities
for the artists and the audience to interact. — By Ahiri Ghosh •
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