8000 miles away, across multiple oceans and land masses, a new generation of Indian immigrants establishes roots, taking on a new way of life.  Yet, the authenticity, depth, intensity and creativity of Indian classical music that they have nurtured, remains intact. The Karnatic Hindustani Music Circle (KHMC), a local nonprofit organization, has for the past 20 years provided a unique platform for local, budding as well as established artists to showcase their knowledge, skill, creativity, and improvisation in both the Hindustani and Karnatic genres of Indian classical music.  Their Baithak style concerts hosted in the homes of music enthusiasts provides the perfect informal yet warm atmosphere that puts artists at ease and fosters an interaction with the audience. The May 2016 concert series was no different!  Shri Sudhakar and Smt Usha Rao hosted the concert at their beautiful home in Medfield, MA.

The concert series began with the Hindustani segment, first featuring junior artists studying music under the tutelage of Smt. Swati Panda.  Swati is the founder of the Raganjali School of Music in Shrewsbury, MA.  Shreyas Mosurkal kicked off the afternoon with a beautiful rendition in Raag Alhaiya Bilawal, followed by Arnav Mankad who sang Raag Yaman, Kanishk Mishra-Pothireddy who rendered a composition in Raag Kafi, and Advait Nene who presented Raag Khamaj.  Smt. Meera Garge wrapped up the junior artist section by singing a lovely bandish and tarana in Raag Kalavati.  Each of the artists showcased their understanding of the raag, its chalan (movement), its notes of significance and its mood through creative slow paced alaaps, and some nicely executed taans.  The artists were ably supported on the harmonium by Shri Ravi Mosurkal, and on the tabla by Shri Pranav Ghatraju.

The senior artist segment in the Hindustani track featured Smt. Shuchita Rao, founder and teacher at the RASA School of Music in Sharon, MA and also faculty at the LearnQuest Academy of Music in Waltham, MA.  Shuchitaji has learnt Hindustani vocal music from eminent Gurus such as Vidushi Malini Rajurkar, Dr. Prabha Atre, Pandit Ramakant Gundecha and Pandit Vinayak Torvi.  Currently she is pursuing a masters in Ethnomusicology at Boston University.  Shuchitaji began her concert with Raag Jaijaivanti where she sang a bada khayal in vilambit ek taal (slow pace, set to a 12 beat cycle), a chota khayal bandish in drut teen taal (medium pace, set to a 16 beat cycle) and a tarana in ek taal (12 beat cycle).  Shuchitaji deftly demonstrated both the Bhageshri and Desh angs of the raag.  

This piece was followed by a dhrupad style alaap and a chota khayal composition in Raag Miyan ki Malhar in madhyalaya Teentaal followed by a drut Teentaal Bandish.  She then sang a drut ektaal composition in Raga Jayant Malhar which is a combination of Raags Jaijaiwanti and Mian ki Malhaar.  Following this piece Shuchitaji showcased various prakars (types) of Raag Malhar, each set to a different taal (beat cycle), all within a single composition - a taalmaala in three varieties of Malhaar - Ramdaasi Malhar, Jayant Malhar and Mian ki Malhar.  This composition ‘Nada Bramha Parameshwar’ alternated taals with ektaal, Aada Chautaal, JhaptAal and Teentaal.  Legend has it that the sisters Tana and Riri, during Miyan Tansen’s time sang Raag Malhar to counter Miyan Tansen’s singing of Raag Deep, as a way to cool him down.  Shuchitaji concluded her music journey with a dadra in Raag Piloo, "pyaar are mori guyyaan" and finally a bhajan "Raghavam Karunakaram" in which Sri K. V. S. Vinay provided spontaneous violin accompaniment. Shri Rama Rao accompanied Shuchitaji on the harmonium and Shri Pranav Ghatraju on the tabla.  Shuchitaji took us through a musical journey showcasing various styles of Hindustani classical and light music.

The Hindustani segment was followed by a bonanza of carnatic strings by Vidwan KVS Vinay and his students.

The Junior segment's first program featured Srinath Sundar and Dr Easwar Sundar. They started with Shri Lalgudi Jayaraman's Valaji varnam which set the tone for the evening with melody and briskness. Valaji was followed by Adamodi in raaga Charukesi and one could appreciate the focus placed on sangathi clarity instilled by Shri Vinay. Srinath and Sundar had the privilege to be accompanied by senior Vidwan Sri Mali Santhanakrishnan.

The second program of junior segment featured the quartet of Ramachandran Balakrishna, Kirtana Krishnakumar, Vishnu Emani and Sivaram Emani. Their song line-up featured an array of compositions that allowed them to flourish. Starting with the Navaragamalika varnam and ending with Khamas Tillana the synchrony of the quartet was pleasing to the ears. The two krithis in between allowed the artists to explore further. After a beautifully rendered Ganamurthe in Ganamurthi, the main piece Eesha Pahimam in Kalyani featured raga alapana and kalpana swarams, where the upcoming artists shared the challenge posed by their Guru and came out in flying colors. The harmonious krithi playing where the listener heard the quartet in unison was the highlight of the performance. They were provided mridangam accompaniment in perfect proportions by Vikas Prabhakar and Ullas Rao.

This was followed by the senior segment where the audience were treated with a violin duet of KVS Vinay and senior student Kirtana Krishnakumar with a double mridangam accompaniment by Shri Mali Santhanakrishnan and Ullas Rao. With Shri Vinay moving to Indiana in the summer, it was a bitersweet concert that left us yearning for more.

Vinay and Kirtana started off with a crisp Sahana varnam that was followed by Vatapi Ganapathim in Hamsadwani that featured swarams at both Vathapi and at Ganapathim to provide added excitement. After an emotive AnandaBhairavi ragam, Syama Sastri's Himachala Tanaya where the composer prays to Goddess Parvathi to bless him immersed us in Bhakthi. This was followed by the evergreen DevaDeva Kalayami in Mayamalavagowla interluded with kalpana swarams.

The main piece of the evening was the beautiful Manasu Swadhina in Shankarabharanam where Saint Tyagaraja explains that praying to Rama and being a yogi both give the ultimate penance. The leisurely exchange of swarams between Vinay and Kirtana at Tanuvu Tanugadani was followed by a terrific exchange of rhythm between Mali and Ullas during the Thani Avarthanam. The mridangam artists showcased how to embellish the concert with Krithi accompaniment while exhilariting the audience with intrinsic rhythms where appropriate. One could witness Ullas' continued growth as a feature accompanist.

Vinay treated the audience with a number of favorites. Govardana Giridhara in Darbari was followed by Chinnachiru Kiliye Kannamma. After  pleading to the lord tocome quick (Krisha nee), Lalgudi's scintillating Mohana Kalyani Tillana was presented for Lord Krishna to dance. The concert ended with Purandaradasa's Bhagyada Lakshmi Baramma.

While Vinay was his usual self, the opportunity to play with her Guru in a full length concert allowed Kirtana to flourish with Vinay providing her full freedom to explore during kalpana swarams and raga alapana. While Kirtana shared the stage equally till the main piece with Vinay, When Vinay played the tukkadas towards the end, she seamlessly turned into an accompanist and followed the krithis which showed her growing ability to accompany. The residence of Usha and Sudhakara Rao provided the perfect ambience with their well appointed chamber concert hall.

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