Behala Sanskritik Sangeet Sammelani, 2016 – Day 4

Behala Sanskritik Sangeet Sammelani, 2016 – Day 4

The Behala Music Conference has been a treat for the music lovers especially from that part of the city for four years now. The huge event is held on the ground of Behala Blind School and continues for several days bringing the leading musicians close to the audience.

This year, the 4th and final day of the said music conference witnessed a soulful rendition of the violin by Vidushi Kala Ramnath. Popularly known as the ‘Singing Violin’, Vidushi Ramnath is mostly renowned for her inclusion of the ‘Gaayaki Ang’ in her presentation. This evening she chose a very somber and paramparik Raag Shuddha-Kalyan, suitable for the evening time. Her strong command over the finger placement of the instrument and absolute effortless bowing complemented her presentation. Her works on the ‘Meends’ as well as the ‘Khatkas’ and the faster Taans were commendable. The ‘Behalawa’ section was also thoroughly enjoyed by the audience.


She presented four different Bandishes in different ‘Laya’ and the presentation was enriched with flawless Taan patterns, well-formed Tihais and the instrument was perfectly in tune, be it on any octave. She next played a piece in Raag Mishra-Khamaj in Dipchandi taal. She was beautifully accompanied on table by Pandit Abhijeet Banerjee, who is renowned for his simple yet beautiful accompaniment. The strong synchronization between both the artists on stage was evident in the well put ‘sawal-jawab’ section.  The audience kept asking for more as Vidushi Ramnath with her divinely soothing smile left the stage promising for the years to come.

The final artist of the 4-day conference was a Tabla solo by Pandit Kumar Bose. The legendary musician belonging to the ‘Benaras Gharana’ was provided Nagma accompaniment by Shri Sanatan Goswami. As Shri Goswami started the Nagma in Raag Marwa, Pandit Bose started his presentation with the ‘Utthan’, ‘Amat’, and ‘Aochar’ in Teental.


The outstanding balance between the Tabla and the Baaya was clearly evident. The extraordinary Kaida section was ornamented with Kaidas composed by Pandit Bishwanath Bose, father of Pandit Kumar Bose. The other star attractions of the recital was the famous compositions using 3 fingers on the tabla.


Pandit Ji also presented the ‘Jhulana laya’ in Dipchandi pattern which is said to be the rhythm of Lord Shiva’s damru, to honour the occasion of Mahashiva Ratri the next day. He swiftly changed from compositions in Tripalli Rela to Tishra-Ang and explained his exceptional balance between the Tabla and Baaya saying how he uses them as his own breath. The recital also witnessed compositions from Pandit Raan Sahay and Pandit Kanthe Maharaj. He concluded his program with a fantastic Laggi portion which again is the signature of the Benaras Gharana. Pandit Ji’s performance was the best possible conclusion to the music conference. The whole event was beautifully Compered by Sharmistha Goswami Chatterjee.

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Shatavisha Mukherjee

Shatavisha Mukherjee learnt her first notes of music at the age of 3 under Pandit A Kanan. She has come a long way since. Currently learning under Padmashri Pandit Ulhas Kashalkar as a scholar at ITC Sangeet Research Academy, she is also pursuing her M.A in history from Jadavpur University, Kolkata, West Bengal, India. A graded artist in All India Radio, Shatavisha has been performing all over the country and also holds several scholarships including the national scholarship awarded by the Government of India. She has a keen interest in literature which she believes, helps to enhance her musical outlook.

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