Musical Morning with #AnshTheatre ‘s Confluence #review
Pt #AjayPohankar ‘s vocals in a purely acoustic setup where he sang beautiful compositions starting with madhya lay composition in Gurjari Todi
मन के पंछी भये बाँवरे
कैसी बीन बजायी साँवरे
तार तार की तान निराली
झूम रही सब बन की डाली
बजाओ खुसरो निज़ाम मिल गाओ रे (we had learnt as पीर निज़ामी बीन बजाओ, खुसरो सब मिल गाओ रे)
Panditji was accompanied by his son Abhijit Pohankar on keyboard , Ninad Mulaokar on flute and Akshay Jadhav on tabla.
“जब कोई सोंची हुई चीज़ लिखी जाए तो उसे गद्य कहते है
और जब कोई चीज़ बिन सोचे लिख लिख जाए तो उसे कविता कहते है” #Makrand #Deshpande started with these lines of the very famous poet Gopaldas Neeraj, and read out his poem “अबके सावन में”. The poem was teasing and situational, talking about the poet’s loneliness in the rainy season(sawan ). Makrand’s well balanced voice created such a vibrant environment with his crescendos and dips creating ripples of laughter and ‘wah wahs’
Panditji changed the mood to Jhinjhoti with the lines
“हारी रे मैं पिया तोहे मैं मनाके”
Just one line of song was sung with so many different emotions of anger, despair, love. It was such a treat to music lovers. Panditji was constantly explaining his presentations to the audience like here in between he mixed up ” तू ही रे” from the movie Roja mentioning that movie songs and popular songs are practical applications of classical learnings. This was also his past project in Jhinjhoti with Hariharan ji.
He continued with the thumri
सैंया मोसे बोल बतिया
तड़पत हूँ सारी रतिया
His playful jugalbandi with the flautist was an added attraction.
Panditji demonstrated a bit of Moorchana here by considering the Nishad नी as Shadaj सा and going into yaman and coming back to jhinjhoti.
Taking नी Of jhinjhoti as सा he sang the following pattern
सा नी प रे ग सा , .नी रे ग म’ ध नी प रे ग स, ( यमन)
And then coming back to नी as सा
“रंग ऋतु के बदल गए होंगे” was the next poem by Neeraj that Makrand recited. The audience continued from quiet enjoyment to sporadic laughter to pensive thoughts.
He also read these lines
“शक झूठे हैं सभी सत्य कथाओं की तरह” and created a seamless integration between the pleasant musical to the engaging reading session
Pandit ji moved ahead to the very famous Kabir Bhajan “रहना नहीं देस बेगाना”. I would need a little help from other listners ( Nivedita Pohankar ) as I could not quite make out the raag clearly as panditji kept moving in and out of Bhinna Shadaj, Bihaag, also Nand at one place.
This was the beginning of most interesting part of the afternoon. Makrand started reading a बोध कथा
Makrand Deshpande started reading out
एक बियावन बियावन में था एक क़ब्रीस्तान
क़ब्रिस्तान में था एक मलँग पगलों से the ढंग
क़ब्रिस्तान me था पत्थर, and he went on reading when mid way he realised half of the script was missing…. he made the whole episode so interesting
He started narrating “in the morning they were picking volunteers for photocopying and sanjay dadich was chosen. He was new so I said he will learn… लगता है आज आधा सीखा है कल आधा सीख जाएगा ” the crowd bursted out laughing.
Very humbly Makrand invited Mrs Anjali pohankar to join on stage and sing a song. Anjali ji presented a Nazm in malhar (miyan /sur)
हाल-ए-दिल यूँ उन्हें सुनाया गया
आँख ही को ज़ुबान बनाया गया
ज़िन्दगी की उदास रातों को
आपकी याद से सजाया गया
इश्क़ की वह भी इक मंज़िल थी
हर क़दम पर फ़रेब खाया गया
दिल पे एक वह भी हादसा गुज़रा
आज तक दिल से न छुपाया गया
लाख तूफ़ाँ समेट कर, या रब
किस लिए एक दिल बनाया गया
Just as it finished, someone asked Makrand if he found the remaining text. Makrand said in one of his plays there was a discussion on 1st and 2nd wife. He said that the one who is at home takes care of you is the 1st wife and the 2nd wife is the breeze that floats around, taking away the fragrance of the freshly brewed tea making you yearn for that aroma. So जो अतृप्त छोड़ दे वो दूसरी पत्नी है।
Over one hour of the morning had gone listening to so much good music and conversation. What more could one ask for.
The afteroon continued with Abhijeet and Ninad presenting a beautiful instrumental in pahadi. This was the first time I was hearing ninad. His ” सुरों की अठखेलियाँ ” with panditji reminded me of many of Birju Maharaj jis concerts where he would demostrate Krishna in conversation with his flute where sometimes the flute would be annoyed that he loves Radha more, or sometimes refuse to play. This conversational play of notes panditji with ninad’s flute kept the audience amused and entertained.
Akshay jadhav accompanied panditji in a perfectly balanced manner.
Makrand had vanished for a while and just as the instrumental piece finished, he entered back shouting “मिल गई”
He finished the remaining lines from the poem, the audience was finally glad to hear the whole of it.
Panditji continued with Pahadi
बाग़ों में पड़े झूले
तुम हमको भूल गए
हम तुमको नहीं भूले
Makrand read few very interesting lines from Rahat Indori
Panditji followed with दरबारी कानाड़ा
यूँ तो हर शे उम्मीदों में गुज़र जाती थी
आज कुछ बात थी शाम से रोना आया
ऐ मोहब्बत तेरे अंजाम पे रोना आया
जाने क्यों आज तेरे नाम पे रोना आया
मकरंद read lines from Gopal Sing नेपाली
कुछ यहाँ दिल जमता है
कुछ देर तबीयत लगती है
Panditji finished the presentation with bhairavi
कागा सब तन खाइयों
चुन चुन खायियो मास
इन दो नैनन मत खाइयों
इन्हें पिया मिलन की आस
Flowing into the chota khyal
कैसी ये भलाई रे कनहाई
पनिया भरन मोरी
2 hours of intertwined flow of poetry and music, is definitely enviable for those who missed.
I had seen Makrand’s Sir Sir Sarla way back when sonali Kulkarni and anuraag kashyap were part of it.
Coming back to ansh in Darshak Festival with 2 of their musical experiments #Patni and #confluence was indeed very pleasurable.