Throughout the recital

The announcer, unaware of the niceties observed at a classical music concert, exhorted the audience to “thunderously clap” a welcome to the artist! While the Ustad was trying to tune his tamboora, she informed us what he was doing, keeping up a patter that did not give him the silence he required to tune his instruments. The next Raga he sang was Raga Basant, the Raga of Spring, in which he presented two compositions, both Holis, suitable to the occasion. His slow meditative aalap, without the use of light adornment of the notes created a powerful ambience.The concert started an hour late, the arrangements were appalling, with a banner being put up on stage while an expectant audience waited patiently for the Ustad. He ended with Raga Bhairavi, a composition in the 10 beat sooltaal, on request, a composition attributed to Nayak Baiju, popularly known as Baiju Bawra, a contemporary of Mian Tansen.Shailaja Khanna writes on music, musicians and music matters. An artist of such eminence, of a family that has maintained a musical tradition of over 500 years is treated so cavalierly, without the organisers even being aware of what they were doing. None of the organizers thought it their duty to intervene and help adjust the sound system. Accompanying him on the pakhawaj was Pt Moham Shyam Sharma who provided excellent interactive support, taking the concert to greater heights. The uplifting lyrics were “Tu Hee Brahma, Tu hee Vishnu”. Throughout the recital, she fiddled with her phone which loudly rang twice.
The opening use of the signature “re pa” literally brought the very essence of Raga Shree to the listeners. The first was a chautaal followed by a dhammar bandish. Despite all this, Ustad Wasifuddin Dagar being the undisputed master he is, rose above the aggravations he was subjected to and presented a superb recital. His gamaks are magnificent and literally leave one breathless. One felt ashamed that despite having such an enviable, unmatched musical tradition in India, our Government does not now know how to honour it, forget nurturing or propagating it. The audience expectedly gave him a spontaneous heartfelt prolonged standing ovation. It is truly only a master who can instantly convey a Raga’s form with just the enunciation of 2 or 3 notes. He started the concert with Raga Shree, one of the https://www.ouqilighter.com Wholesale Smoking Set main Ragas, a dusk Raga of enormous solemnity and grandeur. The sound system had not been dealt with; the technicians were not aware what the number of the main microphone was, so were unable to raise the volume, or the bass as repeatedly asked by the artist. The dhammar taal (14 beat) presentations were exciting and full of drama. The Chief Guest walked on to the stage with her shoes on, unaware of the solecism she was committing. After Basant, the maestro sang Raga Bihag, again a wonderful holi composition dealing with Lord Krishna playing holi with the gopis.