SBSM Ghoroa Majlis: Bridging Traditions and Modern Audiences through Optimized Raga Music Concerts
By Dipankar Mukherjee
A select crowd from Kolkata experienced an extraordinary Indian classical musical evening organized by SBSM Ghoroa Majlis in the Lake Gardens area on January 20, 2024. It was the fourth concert in line. The idea behind the concerts is to bring the essence of Indian classical music to people unfamiliar with music of this kind. ‘Indian classical music nowadays should come out from its old traditional cocoon and should be able to impress a broad spectrum of audiences and, in turn, expand the market of Indian classical music as well.’ says Sangeetacharya Sanjoy Bandyopadhyay, the brain behind this initiative, a globally known sitar player, academician, and Guru. The Majlis had attributes that made it stand out from other classical concerts. Here, raga-music non-listeners receive preference over the trained ears. Secondly, the concert duration is shorter so new listeners can easily retain their focus. Thirdly, the sessions were mainly interactive with the audience and the performers. The artists often explained various aspects of the music they played to give clarity for the newcomers to appreciate better. Overall, the SBSM Majlis design is from the new audience’s perspective, on a mission to expand demand for Indian classical music in society.
Samanway Sarkar started his concert with Raag Jhinjhoti, a brief Aochaar (Very short Alaap) followed by a Gat in Madhya laya (Medium tempo) in Teentaal of a 16-beat rhythmic cycle. The ‘Gat’ reminded the old composition by Pandit S.N. Ratanjhankar, ‘Mero man sakhee hara lino savariya ne.’ The next raga he played was Maru, a less-heard raga rooted to the folk tunes of Rajasthan. Vilambit (slow tempo) and drut (fast tempo) Teentaal were his choices for this number. Samanway concluded his concert with a Dadra based on the famous composition sung by his Guru Vidushi Girija Devi, ‘Deewana kiye shaam kya,’ based on raga Kalengra. Shohon gave soulful support on the tabla. Samanway effectively interacted with the audience during the recital.
In the ethereal landscape of musical enchantment, the second session unveiled the tabla solo of maestro Sri Indranil Mallick, a name associated with tabla virtuosity. Sri Subhasis Bhattacharyya assisted Nagmaa on the Harmonium, adding color to the rendition. The performance oscillated between the languid Vilambit and the rhythmic torrents of Drut Teentaal, casting a mesmerizing spell on the captivated audience who showered the stage with a well-deserved curtain call. Indranil emerged as a musical storyteller, his tabla strokes revealing the intricate layers of Peshkaar, connecting with the audience through metaphors like ‘Rela’ to the thundering wheels of a ‘relgARI’ or ‘Kayeda’ to the graceful dance of ‘Style.’ He traversed the musical landscape, presenting treasures of Khalifa Abid Hussain and an awe-inspiring composition from his Guru, Pandit Swapan Chaudhuri.
The concert became an auditory odyssey as Indranil showcased Kayeda, Gat, Rela, Padans, and mystical Chakradars, leaving an indelible mark on the listener’s soul. An encore at the audience’s request delved into a series of rich Chakradars and the intricate beauty of Tripalli. Conversations after the concert flowed like tributaries into a river of admiration, attesting to the profound impact of Indranil Mallick’s tabla solo—a performance that transcended time, etching a melody that lingered in the hearts of the fortunate witnesses.
The final act unfurled as Ustad Allarakha Kalawant, accompanied by Nabarun Dutta on the tabla, painted a mesmerizing sarangi solo. Kalawant Ji embarked on his musical journey with the Raga Shree, a realm characterized by its mysteriously haunting and profoundly meditative ambiance. Rajan Parrikar once likened Shree to an exclusive commonwealth, acknowledging its formidable nature for both musician and connoisseur. It is a sonic landscape that demands mastery and rewards the listener with a deeply fulfilling emotional experience.
After a brief Aochaar, Kalawant Ji delved into the vilambit gat in Teentaal, seamlessly transitioning to a spirited drut in the same taal. The journey continued with the graceful notes of Raga Shyam Kalyan, danced upon a slow to medium tempo Jhaptaal, followed by a rhythmic crescendo in Ektaal. Within the realm of Shyam Kalyan, the ‘sudh gandhar’ unfolded through varied approaches, each echoing the distinct traditions of different gharanas. Kalawant Ji wove an intricate tapestry of phrases, showcasing his mastery and leaving the audience enchanted by his musical finesse.
The grand finale unfolded with Mishra Bhairavi, set to Keharwa taal. Kalawant Ji’s artistic brilliance shone brightly as he introduced a chromatic order in the Avaroha gati, descending in a cascade of twelve notes—an ingenious and captivating artistic choice. Mishra Bhairavi served as a canvas where all twelve notes could be deftly wielded; Kalawant Ji painted a masterpiece that held the audience in complete thrall. Throughout this musical odyssey, Nabarun Dutta’s tabla accompaniment resonated with sensitivity and precision, adding a crisp and resonant layer to the enchanting concert.
An important note is that none of the renditions’ duration crossed 15 minutes but meticulously maintained all the essence of a long concert.
An Engineer, a business entrepreneur, an avid reader, and a serious raga musician Dipankar Mukherjee is a flutist and considers raga music an integral part of his existence.
- Validation of technical details by the participated musicians.
- Edited by Professor Sanjoy Bandopadhyay
A study was conducted at SBSM Gharoa Majlis to evaluate the impact of Raga music on those who do not typically listen to it. The title of the study is “Impact of Raga Music on Raga Music Non-Listeners. “https://sbsm.indianmusiclessons.com/impact-gharoa-majlis/
