Young talent to the fore
Devanandan Ubhayakar Yuva Sangeet Utsav has become one of season's more endearing traditions over the last 21 years. Lalita Ubhayaker's efforts to pick up some of the upcoming talented artiste of exceptional promise after careful scrutiny is commendable. The Utsav was held at Chowdiah Memorial Hall last Saturday and Sunday.
The first day of the festival commenced with a mangala vadhya- 'Sundari' by Bhimanna Jadav and his brother Gurunath Jadav. Sundari is a rare wind instrument, which is small, no more than eleven inches long, but it has a range and sweetness that comes as a surprise to the listeners.

Starting the concert with raag yaman, they played three compositions in vilambit, madhyalay and drut, producing rich exhilarating melody with crisp adherence to tala. The melodic structures of the raga in terms of the characteristic phrases were well explored. The excellence of the recital was enhanced by the accompanists Ravikiran Nakod (tabla) and Deepak A Marathe (harmonium). They concluded with Kajri, a semi classical piece- usually played during rainy season in Uttar Pradesh.

Next was the vocal concert by Sonali Sinha Biswas from Delhi, a disciple of Pt. Rajana Sajan Misra of Benaras Gharana. She is blessed with a melodious voice. She started with raag behag in vilambit, ek taal. Though she was a bit diffident in the beginning, she gained momentum in the drut. The alaap provided a range of delicate images of the raga.

Beauty & pathos
The Sunday morning programme at the same venue opened with a Sitar recital by Master Sundarnath, disciple of Ustad Bale Khan of Gwalior Gharana. The beauty and the pathos of the raga thodi were beautifully amplified with a gentle build up on the alaap unfolding into a  rhythmic Jod' and Jhala section. More practice and concert experience will help him to reach his full potential. Masterly Tabla support came from Ravikiran Nakod. Creditably contributing  to an enjoyable performance.

Well knit taan
Samrath Nagarkar’s vocal concert followed next. He was initiated into vocal music at an early age and later came under the tutelage of Pt Dinakar Kaikini, and at present a scholar at the ITC Research Academy under Pt Ulhas Kashikar. Gifted with a robust and mellifluous voice, he gave an elaborate form to the raga 'Gaudsaar'. The alaap badhat was laced with well-knit taan patterns and the composition was handled with gusto in varying rhythmic patterns. Accompanists Amod Dandage (tabla) Deepak Marathe (harmonium) gave the desired support.

Three ragas
Sunday evening programme at the same venue was a vocal concert by a promising vocalist Gayatri Vairagkar, disciple of Arati Ankalikar of the Agra Jaipur gharana. Endowed with a sonorous voice, she started her recital with a khayal Pyare Piya Bina in raag Madhuvanti. She deployed a good number of sequences in taans with emotionally charged 'gamaks' which were energetic and impressive.

This was followed by raag 'Anand Malhar — combination of three ragas Yaman, Malhar and Nat. The composition 'barsat ghar aahao' interspersed with some beautiful crisp taans and swaras saw her further explore the depths of the raga with great passion. She concluded with a kajri ‘kelo nandalal’ in raag Desh. These young artistes's combative display of technical bravura is praiseworthy.

Jagadha Kumar Captivating concerts
Dr Rajeev Taranath, president of the 39th Music Conference, gave a Sarod recital on Wednesday at the Bangalore Gayana Samaja. The best known student of Ustad Ali Akbarkhan, Rajeev is a recipient of several awards and honours — the latest being the “Sangeetha Kalarathna” from the Gayana Samaja.

Rajeev chose the rag Chandranandan, which is attributed to his Guru. The Alap at once acquired a special delight touching the pivotal swaras with good feeling. He displayed sensitive artistry, in the Sarod,  He made a graceful impact with Ragmala and a blissful feeling swept the listener. Udayaraj Karpoor gave good support on Tabla.
Earlier, Satish Vyas gave a Santoor recital accompanied by Ravindra Yavagal on Tabla. Son of veteran artiste C. R. Vyas, Padmashree Satish Vyas has practiced this instrument and has performed in many parts of the world. The Alap of Miyamallar was not overly elaborate and was embellished with a flurry of graceful Sangathies. The Rag in all the three - Vilambith, Madhyalaya and Druth — was an affIrmation of his creative propensity. He tried to invest the Keeravani with the right amount of melodic fervour bet could not rise to expected heights.