It was a beautiful early spring Saturday afternoon on March 26. A large number of people that gathered in the house of Sumana and Anand Rao of Lexington that day were treated to vibrant melodies of Karnatic and Hindustani music presented by young artists as well as to sumptuous food and inviting hospitality provided by the hosts. These spring concerts were organized by Karnatic Hindustani Music Circle (KHMC) as a part of their Karnatic-Hindustani Performance Series.

KHMC (KHMCNewEngland.org) is a non-profit Organization promoting Karnatic and Hindustani music in the New England area. KHMC has niche in hosting home concerts in casual setting with enthusiastic members attending concerts performed by local and visiting artists. KHMC is a brain child of Dr. Suresh Mathur who started the organization and nurtured for many years till it was converted to a non-profit organization run by volunteers. KHMC is guided by Board of Directors and Executive Committee.

Karnatic segment – By Anuradha Palakurthi

Over 100 Karnatic music lovers were treated to an evening of extraordinary performances by emerging talents. The evening kicked off with a performance by Shwetha Sundar, student of Geetha Murali. Shwetha warmed up with a Varnam in Ragam Saranga and  Keertanam Sidhivinayaka in Natai.  This was followed by Sri Ranjani (Ini Oru Kanam) with a short Alapanai and Kalpana Swaram.  She finished her performance with the soul-touching Jagadodharana in Ragam Kapi and a lilting thillana in Khamas.

This was Shwetha Sundar’s debut presentation as an artist in front of an audience.  She showed grace and talent by her crisp and clear rendition of every piece that she performed. Her melody modulation, voice control and passion were evident as she cruised through her concert effortlessly.  The planning of her pieces was impeccable – as the one-hour program showcased her talents impressively.

Shwetha’s performance was enhanced by her fellow musicians.  Accompanying her on the violin was Rasika Murali - student of Tara Anand; and on the mridangam by Sudarshan Tirumalai and  Tarun Bangalore - students of Pravin Sitaram.

The duo of mridangists demonstrated zeal, flair and knowledge in equal parts. Sometimes they played together or took turns to play solo but they never missed a beat and always sounded as one.  They both showed immense focus, confidence and talent at such young age.

Rasika Murali is the perfect accompanist for young artists. Though a very accomplished musician in her own right, her accompaniment was mainly focused on giving the singer confidence and helping stay on track throughout the performance. Rasika led Shwetha through every ragam  with ease and confidence.   

The evening’s second delight came from the young artists from New Jersey who are currently freshman students in MIT.  The singer was Varun Ganesan accompanied on the mridangam by Rishikesh Tirumalai and Rasika Murali on the violin. Varun is the student of  Vani Sateesh & Ashwin Bhoghendra and Rishikesh is training under Suresh Ramachandran.

Varun started with Ragam Kalyani  highlighted by the Ata thalam. This was followd by “Maru Balka” in Sri Ranjani with kalpana Swaram and “Bhajana Seya Raada” in Dharmaawati with Alaapnai and Kalpana Swaram.  He continued with “Paridanamichite” in Bilahari  and went on to “Kadannuvaarike” in Thodi.  He came to the finale with “Vekataachala Nilayam” in Sindhu Bharavi and finished with Lalgudi’s Thillana in Rageshri.

Varun Ganesan  kept the room enthralled for a full 2 hours with his innovative, energetic and exemplary performance. There was not a single moment of lull or slack in his energy throughout the show.  He sang every piece brilliantly with emotion and devotion.  He sailed through the ragams effortlessly and held the room captive in his spell.  

He showcased ragam Dharmaawati’s different facets by his Alapana and Kalpana-swaram. His rendition of Bilahari was highlighted by a crisp Chittaswaram.  The piece de resistance was Thyagaraja’s Kriti in Thodi.  This giant of a Keertanam was sung flawlessly and with mastery and maturity by this young artist.  He showcased the song brilliantly with the complicated Khanda Korappu and Sruti Bedam during Alapanai. Varun seems to have created his own style of singing, characterized by innovation and high energy – even while staying true to the classics.   

The Mridangist, Rishikesh Tirumalai, was a most fitting percussionist, as he kept perfect pace with the concert - which sometimes would get really heated and superfast! His handling of the Chittaswaram during Bilahari was special. His solo was a mini-concert by itself and a great end to a delectable show!

Rasika Murali was the perfect accompanist as a violinist that night.  She matched every note, tune, and permutations of swaras during the performance. Her violin rang clear and strong during the entire concert.  Her replies to every Kalpana Swaram especially the Khanda Korappu at the end, was fluid, creative and fitting.  She handled every song and challenge thrown at her by her vocalist brilliantly.

Despite performing three different crafts that evening, one was struck by how tuned the musicians were to each other.  They drew the audience into a world of their own, woven by their own music. It was moving and inspiring to all aspiring musicians to say the least!

A lot of credit must be given to the Gurus of these young children who are so committed to teaching and passing their knowledge to the next generations.  One can truly say that the future of Indian Arts is in safe hands in the United States!!

Huge thanks to KHMC and it’s organizers for once again arranging a magnificent program in the NE area. It was reminiscent of the olden days in Chennai, where concerts would be held in the temple courtyard next to the ‘Prakaram”, with makeshift platforms and the common man could hear and enjoy the sweet sound of music.

Hindustani segment - By Shuchita Rao  

The Hindustani segment of the KHMC concert featured vocal performances by students of Smt. Purba Debnath who teaches Hindustani vocal music at Learnquest Academy, Waltham, MA.  Isha Havale, Athira Ajith and Shrutika Kalve started with a sargam geet in Raag Des and a melodious children’s song “Rang Birangi Pankhowaali”  set to16 beat cycle teentaal followed by a taraana in drut ektaal composed by Smt. Dipali Debnath. The young performer showed commendable comfort in balancing sur and taal. Neeta Kalve, Meetali Havale and Aarti Ramani presented two pleasing compositions in late afternoon raga Puriya Dhanashri.  “Tere daras ki” set to 10 beat cycle jhaptaal  was followed by “Kaise Nagariya aaj sakhi” set to16 beat cycle drut teentaal composed by Pandit V.R. Athavale. Both compositions had a variety of attractive alaaps, bol-taans and aakaar and sargam taans sung individually as well as in a coordinated manner by Neeta, Meetali and Aarti. The audience had special appreciation for the sargam and bols presented by the talented singers. This was followed by a spirited group tabla performance by students of Dr. Nishikant Sonwalkar.

Smt. Purba Debnath, a disciple of the eminent scholar-musician-guru from Agra and Gwalior gharana,  Pandit V.R. Athavale and the thumri exponent Late Shri Bireshwar Gautam presented Ragas Madhukauns and Kedaar, followed by a thumri in raag Pilu. She concluded with 2 seasonal horis, the last hori being a beautiful composition in raga bhairavi, a raga which is traditionally used to end a Hindustani concert. Learnquest faculty members, Smt. Preeti Chakrvarthy on harmonium and Dr. Nishikant Sonwalkar on tabla provided excellent accompaniment.

Smt. Debnath started her recital with an emotional exposition of raga Madhukauns. She sang aakaar alaaps and used the words of the vilambit ektaal bandish “Jo ban maatey” to weave numerous patterns that brought out the beauty of the raga in a subtle but emotion laden manner. She arrived at the main beat of emphasis in the rhythmic cycle known as the “sum” in various different ways, highlighting her capability to improvise in a creative manner. Agra style bol-baant, layakaari and gamak taans marked the second part of development of the vilambit khyaal. “Ja ja re ja ja pathikawaa”, a drut teentaal composition followed the slow, vilambit tempo presentation. Pleasing boltaans,  varied taans in sthaayi and antara added to the beauty of the presentation. Dr. Sonwalkar’s opening of the drut teentaal piece was dramatic and Smt. Preeti Chakravarthy provided superb accompaniment on harmonium .

Smt. Debnath’s second item was a presentation of traditional composition in Raga Kedaar, “Kaanha ray nanda nandana” set to 16 beat cycle teentaal in medium tempo. She brought out the essence of the raga in her smooth gliding movements between teevra madhyam and shuddha madhyam notes. A leading alaap made way to the antara of the composition that was marked by a powerful taar shadja. An antara alaap that showed Smt. Debnath’ s vocal range between madhyam in taar saptak (upper octave) and madhyam in Madhya saptak ( in middle octave) brought out the beauty of Kedara raga in ample measure. A faster drut composition in 12 beat cycle Ektaal, “Munduruh aavo” composed by Pandit V.R. Athavale was marked by crisp taans and yet again, attractive bol-taans.

A 25 minute segment on semi-classical music featured thumri in pilu set to deepchandi taal, “Shyam bhaye bin shyaam”  expressing sadness and longing at the absence of Lord Krishna. Parallel improvisation by Smt. Debnath and Dr. Sonwalkar in the concluding laggi section of the thumri in keherwaa taal was impressive. “Barsat rung gokul mein” , a hori was the next item to be presented. Beautiful alaaps and an unique forays into ragas Chayanat and Gaud Malhaar were the features that stood out in this presentation. “Daaro na daaro mopay rung”, a hori in Bhairavi set to addha taal, had an imposing opening alaap that brought out the personality of raga Bhairavi. A pleasing laggi by Dr. Sonwalkar while Smt. Debnath improvised with notes in Bhairavi and words of the sthaayi , ending with a clever tihai brought the concert to a grand end.  The concert was well attended and appreciated by Boston audience.

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