Launched in 1947, the Shankarlal Music Festival finds its formula for continuity

Shriram Bharatiya Kala Kendra’s Shankarlal festival showcased rare ragas, radiant artistry, and inclusive performances, from Pt Madhup Mudgal’s serene morning ragas to Ramana Balachandran’s Saraswati veena.

Enjoying music is a subjective experience, shaped by many factors — familiarity with the artiste’s work, knowledge of the genre, one’s receptivity at the moment, and even the quality of the sound system. At a large music festival, the added element of being exposed to so much music in a short span of time further alters one’s perspective. The current trend in North India of scheduling concerts for only an hour or an hour and a half, followed immediately by another and then a third, is not the most conducive way to experience music. Absorbing what one has heard is an essential part of savouring it. As such, any selection of performances is necessarily open to debate.

Pt. Madhup Mudgal created a serene ambience at his morning concert. There was no hurry, no gimmicks — just pure music. He began with raga Ahir Bhairav, a highly lyrical interpretation of the morning raag Bhairav, enriched by elements of khamach that heightened its melodious quality. The popular vilambit bandish ‘Rasiya Mharo’ was explored with gentleness.

Madhup ji’s daughter, Sawani, accompanied him in the lower register, complementing the difference in their vocal pitches, while his long-time disciple, Khushal Sharma, lent his voice in the higher notes. This contrast was particularly pleasing. One admired how the maestro resisted the current trend of prolonging the exposition to 45 minutes, as is common nowadays. Instead, he sang just enough to fully explore every nuance without unnecessary lingering.

Such restraint is becoming rare among the younger generation of vocalists, many of whom feel compelled to extend the first piece in order to establish their musical credentials.

Next, he sang raga Kukubh Bilawal, a rarity on today’s concert stage. The vilambit composition was one composed by his guru, Pt. Kumar Gandharva. This was followed by an unusual self‑composed tarana, rendered in double speed and marked by deliberate pauses between notes. Dramatic in effect and novel in gait, the piece commanded attention.

Continuing along the time scale of ragas, Madhup ji then presented raga Madhmad Sarang. His tarana, set in Ek taal and again self‑composed, was appealing and served as a fitting conclusion to the concert. He was accompanied by Shambhunath Bhattacharya on the tabla and Chinmay Kolatkar on the harmonium.