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Rajendra Sijuar conveyed the nuances of the Banarasi ang at the Thumri-Kajri Utsav

Apart from accouterment acquittal from heat, cloudburst ushers in a celebratory mood, best bidding through music. Many Hindustani music festivals, such as the Malhar Anniversary and those that focus on thumri, dadra and chaiti, are timed during this season. And there are raags articulate abnormally during monsoon.

Thumri, the best accepted brand of Hindustani music, is a accomplished alloy of the classical and folk. Beneath it, melancholia folk genres like Kajri, Chaiti, Hori etc accept additionally developed, of which Kajri is the body of the rains. With its comfortable and abstruse techniques like the ‘Bol-Banaav’, which conveys the acceptation of the argument musically, thumri is instantly ambrosial to admirers who are not steeped in the classical tradition. It’s no wonder, therefore, that the anniversary Thumri-Kajri Utsav organised by Kala Prakash in Varanasi is appreciably accepted amid music lovers. This year too, the organisation’s founder-chairman, Ashok Kapoor, absitively to authority the anniversary virtually.

The anniversary showcased Rajendra Sijuar, a adherent of Pt. Rajan-Sajan Mishra, streamed alive from Gaya, a burghal acclaimed for its thumri tradition, like the Purab ang and Punjab ang thumris. One accepted the Gaya flavour in Rajendra’s concert, but actuality clean-cut beneath the Mishra Bandhus, he presented Banarasi thumris and kajris.

Opening with a acceptable thumri in raag Tilang, ‘Deejo mohe nai chunari mangay’, set to Deepchandi taal, Rajendra afflicted with his abnormal alternative of raag. Normally, thumri concerts activate with Mishra-Khamaj, area the ‘Mishra’ indicates the achievability of demography liberties with Khamaj. Here was a thumri accompanist who started with Tilang and advised it faithfully.

The apathetic bounce of Deepchandi taal helped him elaborate, aggrandize and adorn the song-text. The comfortable addition befitting in accent of the theka played on the tabla had artistic ‘bol-banaav’, area the accompanist chose words and phrases from the thumri and gradually busy them with a array of swara combinations.

After the ‘Sanyog Shringar’ thumri, adulatory togetherness, with the nayika requesting her admired for a colourful chunari, came the ‘Viyog-Shringar’, the desolation of separation, conveyed through the accepted thumri, ‘Mora saiyan bulave aadhi raat, nadiya bairan bhai’, in raag Desh, set to Addha Theka of Teentaal.

The thumris were followed with a acceptable dadra, ‘Kaise bedardi se anemic pade hain, mose bharaave gagaria’, in Manjh-Khamaj, set to the agreeable amble of Dadra taal.

To conclude, Rajendra articulate a brace of kajris anecdotic the adorableness of badariya — aphotic rain clouds. The kajri, ‘Barsan lagi badariya sawan ki, mori dhani chunariya bhij gai’ in Pilu was followed by the accepted ‘Barsan lagi badariya room, jhoom ke’.

Rajendra’s open-throated singing and acute analysis of the repertoire impressed. Each allotment concluded in a ablaze laggi, with the tabla artisan Dinesh Kumar bringing in amazing adroit variations. The harmonium accessory by Sarvottam Kumar akin the subtleties in the compositions and vocals. Rajendra Sijuar committed his concert to the backward Pt. Rajan Mishra.

The Delhi-based biographer focusses on Hindustani music.

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