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A lasting experience

A rich understanding of music as well as an emotive appeal of the voice made Nagabhushan Hegde's recital a holistic one



The exuberance and creative energy of Nagabhushan Hegde was reminiscent of the inimitable fervour of his guru Ganapati Bhat

Hindustani classical music is significantly redefining its position within the blitz of commercial music proliferation. The sensitive and subtle aesthetics of gharana individualities or multifarious sub-traditions of raga music may have merged into an eclectic approach. Yet the ethos of the guru- shishya parampara, an oral tradition which forms the basis of the aural mode of transmission of musical knowledge from the guru to the shishya will remain.

The young musician Nagabhushana Hegde is the most promising disciple of Ganapati Bhat Hasanagi. Nagabhushana Hegde's music bears the stamp of the magnetic tonal quality of his guru Ganapati Bhat. He has had an impressive performing career as a vocalist and has been featured in some of the most distinguished music festivals of the country. Nagabhushana Hegde gave a Hindustani classical vocal recital at Kalashree, the residence of a senior musician and harmonium maestro C.G. Anantaswamy, under the auspices of "Sruti", an organisation founded by C.G. Anantaswamy, decades ago, for the promotion of Hindustani classical music in Bangalore. He commenced his evening recital with the beautiful Raga Gawati, not usually heard in vocal or instrumental concerts these days. This raga of Khamaj That is an audav-sampurna raga, with five notes in the ascending and seven notes in the descending order. Nagabhushana built the raga edifice with utmost delicacy, transforming it into a fundamentally romantic outpouring. The vilambit bandish (composition) in ektaal, a rhythmic cycle of 12 beats, "Sada tumare charan ki aas lagi" was articulated sonorously through unhurried alap avartans punctuated with creative landings on the sam of the bandish in the sthayi. In the upward and downward progressions, notes bearing special significance like vadi and samvadi were used in a bewitching manner, producing a lingering effect by creating unforgettable patterns. The artiste's voice had a very rich melodious appeal and the emotive quality of the vilambit khayal rendition captured the very essence of the raga. In the antara part of the composition, "Agama Apara", Nagabhushana was able to negotiate intricate swara and alap patterns in the tara saptak and ati tara saptak with great ιlan and felicity. The soulful, imaginative alap sequence was succeeded by a volley of taans in the bol alap and bol tan part of the Khayal, demonstrating the exuberance and creative energy of the artiste, reminiscent of the inimitable fervour of his guru Ganapati Bhat's gayaki. The delineation of the prayerful, lyrical bandish "Hamare par karo sayi" in Drut Teen tal, a rhythmic cycle of 16 beats was a testimony to his impressive taankari with a repertoire of tans. Nagabhushana's measured exploration of the subtle nuances of Chandrakauns depicted a plaintive mood. He rendered two bandishes, "Naiya Par Karo" in Jhap tal (10 beats) in madhyalaya which was followed by the exquisite shringar ras in the drut teen tal composition "Sova na de mayi ghadi pal chin din raina maica". The appealing phrases in alap, taan and sargam, his stirring portrayal of the emotional themes of his khayal bandishes, made Nagabhushana Hegde's music recital a singularly satisfying aesthetic experience.

K.S. VAISHALI

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