An ode to C.R. Vyas and the treasure of compositions he created  

Ustad Amjad Ali Khan performing on the samaroh
| Photograph Credit score: Particular Association

Pt. Chintamani Raghunath Vyas (1924-2002) was a prolific performer, composer, scholar and a devoted guru who skilled many disciples. To propagate Indian classical music, he based the Maharashtra Lalit Kala Nidhi in 1973, and began the Gunidas Sangeet Sammelan in reminiscence of his guru Pt. Jagannath Bua Purohit (Gunidas). Lately, the Maharashtra Lalit Kala Nidhi organised the Pt. C. R. Vyas Janm-Shatabdi Sangeet Samaroh in Delhi’s Kamani Auditorium. The 2-day music pageant’s finale featured Ustad Amjad Ali Khan’s sarod recital. 

Pt. C. R. Vyas held a full-time job with the ITC, however his ardour for  Hindustani classical music noticed him practice below famend gurus of the Kirana, Gwalior and Agra Gharanas.  Impressed by his guru Gunidas, Vyas additionally created new raags and compositions below  the pseudonym ‘Gunijaan’. Remembering his compositions, Amjad Ali Khan stated: “Artistes go away however what stays are their creations.” He additionally paid tribute to Ustad Zakir Hussain by getting Aditya Kalyanpur and Amit Kaothekar, disciples of Ustad Allarakha (Zakir’s father), to accompany him.

The Ustad eschewed the customary alap-jod-jhala and, with only a quick introductory auchar, performed conventional compositions in raag Tilak Kamod and Bihari (an outdated raag with related romantic fervour) within the gradual and medium tempos of Teentaal, respectively. 

Amjad Ali Khan selected raag Durga subsequent and portrayed the predicament of ladies via the discordant notes within the alap, earlier than enjoying compositions within the standard swarup of the raag in six-and-a-half beats  time cycle and drut Teentaal adopted by a scintillating jhala. Concluding his recital with the Carnatic raga Charukesi, as an alternative of the customary Bhairavi, he integrated the Ram Dhun  ‘Raghupati Raghava Raja Ram’ and adopted it with shades of different Carnatic ragas reminiscent of  Saraswati and Hamsadhwani. He supplied ample scope to each the tabla gamers.

Pt. Suhar Vyas accompanied by Pt. Vinod Lele on the and Vinay Mishra on the harmonium
| Photograph Credit score:
Particular Association

The night  opened with a vocal recital by Pt. Suhas Vyas, the son and disciple of Pt. C. R. Vyas. He was accompanied on the tabla by Pt. Vinod Lele and Vinay Mishra on the harmonium. Kushal Sharma, a younger disciple of Pt. Madhup Mudgal, supplied vocal help. He selected the well timed raag Shree and introduced a bada khayal set to vilambit Ektaal composed by Gunidas. The chhota khayal in Teentaal was his father’s composition. Suhas’ full-throated voice and meticulous efficiency introduced alive the reminiscence of his father. Raga Shuddha Kalyan was a comely distinction after the sombre raag Shree, earlier than he concluded with a nirgun bhajan.

The primary attraction of the inaugural night was the vivacious vocal recital by Pt. Sajan Mishra alongside along with his gifted son Swaransh. Pt. Sajan Mishra thoughtfully selected raag Jog-Kauns, created by Gunidas, and introduced two compositions of Bade Ramdas Ji, recognized for the melodic and philosophical content material of his bandishes. He was accompanied on the tabla by Pt. Vinod Lele, who supplied  good theka, and Dr. Vinay Mishra, who mirrored  the vocal nuances on the harmonium. 

 Pt. Sajan Mishra alongside along with his son Swaransh
| Photograph Credit score:
Particular Association

It was a delight to look at Sajan Mishra  negotiate each the gandhars whereas elaborating the raag. Swaransh introduced out the bhavas of the compositions ‘Kahe guman kare Bavare’ and ‘Jagat hai sapana / Kou nahin apna’ set to Vilambit and Drut Ektaal, respectively. The duo complemented one another, enjoying conceal and search with aol alap and a wide range of taans. One solely wished they’d extra time for an additional raag as an alternative of concluding with a brief Sohini.

Pt. Satish Vyas, Pt. C. R. Vyas’s son and Suhas’ brother opened the Samorah along with his santoor recital. He skilled below Pt. Shiv Kumar Sharma. He performed Dhankoni Kalyan, a raga created by his father. Because the title suggests (Dha-na ie dhaivat nahin and Ko-ni ie komal nishad) there was no dhaivat, nishad komal and teevra madhyam of Kalyan. 

Pt. Satish Vyas, the curator of the pageant, enjoying a tribute live performance in reminiscence of his father.
| Photograph Credit score:
Particular Association

He performed an in depth alap-jod and jhala on this raag, adopted by three compositions set to gradual Jhaptaal and medium and drut Teentaal. Pt. Ram Kumar Mishra supplied him excellent help on the tabla. Since he was additionally the host, it might have been fantastic if visitor artiste Sajan Mishra had been provided extra time