On an unseasonably warm Saturday in October, Shadaj, a non-profit organization in the Greater Boston area, featured Pandit Raghunandan Panshikar for their final concert of the 2023 season. This concert held the promise of a traditional baithak-style performance, a treat eagerly anticipated by dedicated classical music aficionados and loyal patrons of Shadaj.

          After initial formalities by the organizers, Pandit Panshikar took the stage with his accompanists, Bharat Kamat on tabla and Ameya Bichu on Harmonium. Raghudada started the concert with a familiar evening raag Bhimpalas. His slow, soulful introductory aalapi radiated peace and tranquility. A well-known Jaipur Gharana bada khayal, ‘Re Birahaa..’ in vilambit teentaal, clearly showed the canvas for the raag. Panditji’s unhurried and methodical exploration kept revealing the beauty of the raag. The aandolan (oscillation) of komal gandhar and komal nishad woven in various melodic patterns were exceedingly pleasing and greatly enjoyed by the audience. The raag progression continued seamlessly to layakari, bol aalap, and precise taan patterns. The momentum gathered during the hour-long exploration of vilambit khayal culminated in a drut bandish ‘Naad Samudra ko..’ by Daras Piya. The audience continued to sway in the ecstasy of Bhimpalas for more than 75 minutes. Bhimpalas, a delicate melody, has a universal appeal. A melody that is accessible for Hindustani music students to learn poses an equally demanding challenge for performers when presented to a discerning audience. As described aptly by the musicologist Deepak Raja, this raag is known by all but only maestros can perform it. Maestro Panshikar’s rendition was indeed one that was unforgettable.

          A shorter presentation of raag Marwa followed, which pleasantly surprised the audience. ‘Chando Langar Mori…’ in drut Ektaal expressed the longing and plaintive mood of the raag earnestly. His taans, rich in gamak, appeared to evoke the restless emotions of the approaching nightfall. This was a great example of how he thoughtfully uses ornamentation to match the mood and the intended effect of the raag. This is why his presentation does not sound formulaic and tailored for applause.

          The concert's second half featured raag Sampurna Malkauns – a Jaipur Gharana specialty. As the opening ​aalap​ started creating a suggestion of Malkauns, Panditji introduced Rishab and Pancham​ confirming the identity of Sampurna Malkauns. He presented a​ bada khayal “Baraj Rahi...”​ in ​vilambit teentaal​ and unfolded the ​raag​ systematically and extensively. Jaipur Gharana's version of this raag revolves around Pa while maintaining the melodic structure of Malkaun, as is clearly delineated in this composition. An uncommonly heard ​drut bandish “Banavari Shyam More...”​ was incredibly mellifluous. The drut bandish was composed by Ganatapswini Mogubai Kurdikar, although she used her Guru’s pen name, “Ahmad Piya” in the composition. Raghudada did full justice to this composition by embellishing it further with the intricate, precise patterns of ​layakari​ and ​taans​.

          The next presentation was a beautiful raag created by Kishori Amonkar, Anand Malhar. It is an alluring blend of Yaman and Malhar. Easy and harmonious movements in and out of the two raags are beautifully woven in the bandish ‘Barasat Ghana Aaayo..’. The short presentation of this raag, under his spell, created a metaphorical downpour of musical euphoria, drenching the audience in delight.

Panditji’s accompaniment on tabla and harmonium are definitely noteworthy. Bharat Kamat is an accomplished tabla artist who frequently accompanies prominent musicians. As described by the organizer in the introduction, the pathos in Bharatji’s tabla matches the ethos of Panditji’s singing. His accompaniment can be described as restrained, steady, and authoritative. He has the sensitivity to modulate his accompaniment to emphasize the melody at appropriate places. Ameya Bichu, a young harmonium player, was equally impressive. He perfectly and precisely followed Raghudada. Jaipur Gharana raags can be challenging to accompany. But he had equal command of the raags and kept their integrity intact. The chemistry between tabla and harmonium was complimentary. Raghudada’s disciple Achyut Joshi deserves a mention for impeccable vocal support. The artists had a certain ease on stage and their restrained gestures kept the music on the forefront. As Raghudada explained in the music appreciation session the night before, his philosophy of ‘go with the flow of music’ was reflected in their demeanor.

Kishori tai’s ​taleem​ was evident in Raghudada’s presentation. Expression of emotions by caressing the notes, soulful ​lagaav ​of words and notes, appropriate ​thehrav ​on notes, and use of meend,​ ​aandolan are some of the prominently identifiable features seen in his music. One can get a sense of narration and illustration in his presentation. A perfect, controlled ​aakaar ​as a characteristic of Jaipur Gharana was preserved throughout the concert. He also uses patterns where he arranges an array of three pairs of contiguous notes. His performance had many such beautiful patterns. The thought process of such patterns was explained briefly in the music appreciation session the night before the concert. Following in his Guru’s footsteps, he deviated from Jaipur Gharana rules in many regards as well. The slower (​thaay)​ ​laya ​and, thus, a leisurely exploration of raag was unlike the Jaipur tradition. As he progressed in the presentation, the slight variations in the ​mukhada reflected the end notes in the ​badhat​. These changes made the renditions very enjoyable.

On popular demand, the concluding piece was a Marathi bhajan, ‘Padmanabha Narayana..’ by Sant Tukaram. Raghudada’s rendition beautifully encapsulated the divine essence of melody and rhythm, offering the audience a profound glimpse into the spiritual journey that the bhajan lyrics aim to evoke.

This concert was exemplary in Shadaj’s quest for an intimate, baithak-style concert in the most authentic form. Genuine music connoisseurs, gathered in an overflowing music hall, truly appreciated a concert that deliberately abstained from applause-seeking, formulaic, and excessively rehearsed rendition of raags. This heartwarming experience will keep the Boston audience’s passion for music kindled till the next season. 

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