By Dr. Rama V. Bennur

Gayana Sabha, the new music Sabha of Mysuru, had organised a fine Hindustani classical vocal concert on the occasion of releasing of a CD of Vidu. Shreemathi Devi on the 4th of January at Vasudevacharya Bhavana. Ustad Faiyaz Khan gave a memorable concert on the occasion.

Shreemathi Devi, an upcoming Hindustani artiste, has cut her first album in which she is accompanied by Satish Bhat on harmonium and Bheema Shankar Bidanur on tabla. The CD was released by Pt. Indudhar Nirodi in the presence of Ustad Faiyaz Khan. The CD has in it Rag Miya ki Todi, Rag Sur Malhar and a Nirguni Bhajan.

After the release of the CD, Ustad Faiyaz Khan gave a rich and soulful concert for the pleasure of rasikas. He is an exponent of Sarangi and Tabla apart from being a singer. Born into a family of musicians from the Kirana Gharana, he has proved to be  a multi-talented person.

The rich vocalism and artistic intuitions have found their most eloquent expressions in his singing. He was accompanied by Veerabhadriah Hiremath on harmonium and Bheema Shankar Bidanur on tabla.

Faiyaz Khan opened the concert with Rag Pooriya Dhanashri. The majestic approach through the short alap created the pervading mood. A Bada Khyal ‘Moro peer Hazarat Nijamuddin’ unfurled the nuances of the raga in a leisurely manner. His interpretation of the raga did not allow him to enslave in the skill alone. He went on exploring every possibilities and nuances of the raga. It was a triumph of the musical architect. His mood was such that it could simply reveal the different shades of all the ragas of the day. ‘Ajab teri khudaayi’, the  chota khyal in Dhruth revealed his creative imagination.

The main attraction of the day was a Thumri ‘Tum bin mai na chedu basiya’ in the Rag Sohni. Thumri, the enchanting form of musical expression normally reveals the romantic or the devotional mood of ‘Nayaki’. Usually it reveals the pain of separation that nayaki undergoes. But ‘Will not the hero suffer from the separation?’ is the question of Ustad. The result was a beautiful Thumri penned by him describing the agony or the emotional suffering of Shree Krishna who is away from Radha. He breathed life in to every word with his soulful rendering.

Faiyaz Khan is known for the rendering of Dasara Pada. Clear diction and emotionally charged, they carry the quintessential charm of music. The mellifluous voice unveils the beauty of both music and lyrics.  ‘Eke malagide Hariye?’ by Gopaladasa (Ragamalika), ‘Baagilanu teredu’ by Kanakadasa (Bhatiyar), and the evergreen ‘Jo bhaje Hari ko sada’ displayed foray of colours in his diverse melodic designs.

Veerabhadriah Hiremath was a wonderful support to the main artiste. Bheema Shankar Bidanur gave a lively rhythmic support all through.

Shreemathi Devi gave a short and sweet concert at the beginning of the function, accompanied by Veerabhadriah Hiremath on harmonium and Bheema Shankar Bidanur on tabla.

Rag Patdeep was elaborated in a soft and sweet voice. ‘Ab to samaro,’ the bandhish set to vilambith Ek taal unfurled the grace and charm of the raga.

As the speed increased, ‘Jhanana jhanana baajata paayaliya’ in Dhruth was rhythmic and rigorous. The short presentation ended with a Devaranama ‘Nee maayeyolago ninnolu maayeyo?’ by Kanakadasa.