Tarun Bangalore, son of leading Carnatic musician Tara Anand, stunned the audience with his brilliant accompaniment to a fabulous vocal recital by Vidwan Pattabhirama Pandit. The concert was held at the Anubhava School of Music on Nov 17. The event was an absolute treat for Carnatic music lovers.
"I am very fuzzy about my accompanying artists" said Vidwan Pattabhirama Pandit. When I heard a recording of Tarun's playing I was impressed. I spoke to his Indian Guru Shri Jayachandra Rao who gave his strong recommendation". "Tarun's correct balance the right and left parts of Mridangam makes his playing beautiful. His innate sense of music allows for perfect accompaniment". The Vidwan threw quite a few challenges to Tarun during the concert, which Tarun took on effortlessly. "The grace of the Lord is on Tarun. His sincerity, humility, musicality and Guru Bhakti will surely take him far. He is constantly talking with reverence about both his Gurus, Pravin Sitaram from the US and Shri Jayachandra Rao from India" said Shri Pattabhirama. It was clear that a Mridangam star had emerged.
The concert had several other notable elements. The Vidwan's Bhavam and Bhakti shone through his concert and made the audience enjoy the divinity of the music. Several of Tara's students were in the audience. They were thoroughly engrossed in the music. It was stunning to watch
so many youngsters, especially teenage boys and girls sit without moving and paying attention to all the subtle nuances. The request for a Telugu Javali came not from a senior aunty but a young teenage girl.
Introductions by young Sahana Srinivasan and the vote of thanks by Aditya Ravikant clearly showed their thorough understanding of Carnatic music. Comments like "KVN's Vande Mataram is perhaps his most special rendition" made us forget that the speaker is a high schooler from Framingham and not a regular at Chennai music festival.
As the tail end of the concert, the rendition of Jagadodharan- describing the relationship of Yashoda and Krishna was so appropriate. For seeing Tara Anand playing with her own brilliant son with all her brilliant students in the audience, it was clear that this mother and Guru had certainly done her part well. She has done her part to ensure that Carnatic music had taken firm roots amongst the young Indian American children in New England.
Here is a review of the concert from a Rasika.
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MAHA ANUBHAV at ANUBHAVA
When a musician friend of mine invited me to a concert mentioning that vidwan Pattabhirama Pandit is from KVN school , without batting an eyelid, accepted the invite!!!
What a delightful treat it was to the ears and the soul. As the concert commenced, we were spellbound by the majestic yet ‘kuazaivana’ Bhairavi, followed by energetic Harikamboji . Soulful and serene maiden Poorvikalyani made her charming entrance and delighted the audience with lilting notes. Then appeared soul searching Ritigowla weaving garlands of notes effortlessly. This was only tip of the iceberg. After a delightful trot from Nalinakanti, forever endearing, eternally sought after Keeravani made her grand entrance with all aplomb. Insatiate rasikas had still many a dessert to relish – the ultimate of Kapi, the biting sweet Behag, the melting Khamas and finally an adieu by Paras.
Sri Pattabhirama’s rendering was par excellence, an ‘atamrathamana samarpanam’ to his guru, none other than our great legend KVN sir. Each composition was rendered with commanding & resonating voice, swara suttham , and, effortlessly & melodiously in all octaves, and with soul. His adoption of his guru’s unique way of ‘swara prastaram’, almost like a lullaby, shined thru in every composition. Torrents of ‘sarvalagu swara korvais’ kept the rasikas in awe. Mellifluous niraval was another bedecked jewel , especially elaborated in ‘Kaligiyunte’.
Sri Pattabirama, Tara and young Tarun took us to an entirely different world with the beautiful & musical discourse between them- Tara with all her great prowess accompanied with such humility and sweet restraint. Only a seasoned artist can do that, and, one who has the greatest respect to Carnatic music tradition and norms. At one point during ‘Kaligiyunte’, Sir took upon a simple but sweet and beautiful ‘3 akshara’ swara prastaram initiated by Tara and built on it a beautiful, beautiful ornamental string of ‘swara pearls’. Indeed humility and a subtle way of acknowledging his accompanying artist.
One could dwell on, cherish and marvel at how each and every aspect of carnatic music, be it ‘niraval’, ‘swara prastaram’, ‘alapanai ‘was so traditionally and uniquely performed, To share a few. The virutham like beginning before ‘Jagadodharana’ was very innovative and so very refreshing. ‘Saramaina’-sir, you did more than justice to it in all parlour. The Behag raga vistaram by both you and Tara is still ringing in our ears. You took ‘Deva Deva Jagadeeswara’ to altogether new heights.
As for young Tarun’s accompaniment – it was beautiful sound woven with simplicity & further embellished by his ‘eduvana’ resonant and ringing strokes. His following the vidwans and the kriti showed his maturity. His total involvement made it all the more endearing.
Immense thanks ‘Anubhava’ for showering such maha anubhavam on us rasikas. Looking forward to many more such baiteks.
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