Ustad Amjad Ali Khan performed in Samaroh. Photo Credit: Special Arrangement

PT. Chintamani Raghunath Vyas (1924–2002) was a vast artist, musician, scholar and a dedicated Guru who trained many disciples. To promote Indian classical music, he founded Maharashtra Lalit Kala Nidhi in 1973, and his Guru Pt. Jagannath Bua Purohit (Gunadas). Recently, Maharashtra Lalit Kala Nipi took Pt. Organized CR Vyas Janam-Shatabdi Sangeet Samaroh at Kamani Auditorium, Delhi. At the conclusion of the two -day concert, Ustad Amjad Ali Khan had a sarod recurrence.

PT. CR Vyas conducted a full -time job with ITC, but his passion for Hindustani classical music trained him under the famous gurus of Kiran, Gwalior and Agra Gharan. Inspired by his Guru Gunadas, Vyas also created new raga and compositions under the pseudonym name ‘Gunija’. Recalling his compositions, Amjad Ali Khan said: “Artists go away but what are his compositions.” He also paid tribute to Amit Kotikar, a disciple of Ustad Allarakha (father of Zakir), to accompany him to go with him.

The Ustad left the customary alp-jod-zola and, with only a small introductory vigor, performed the traditional compositions in the raga Tilak Kamod and Bihari (an old raga with the same romantic enthusiasm) in the slow and medium tempo respectively.

Amjad Ali Khan selected the next raga Durga and painted the prediction of women through discord notes in Alap, before playing compositions in traditional. Form In six and a half-and-half beets, during the raga, the chakra and the drot tental, a jhalard. Instead of the customer Bhairavi, Karnataka raga ended his recurrence with Charuksi, he included the Ram Dhun ‘Raghupati Raghav Raja Ram’ and followed it with the colors of other corn and Hamsadwani. He provided enough scope to the tabla players.

PT. PT with Suhar Vyas. Vinod Lele on the and Vinay Mishra on the Hormonium | Photo Credit: Special Arrangement

The evening opened by PT with a vocal repetition. Suhas Vyas, son and disciple of PT. CR Vyas. He was accompanied by PT on Tala. Vinod Lele and Vinay Mishra on the Haronium. Kushal Sharma, a young disciple of PT. Madhup Mudgal provided vocal support. He chose Raga Shri on time and presented a Bada Khayal set for the Wilambit Actal composed by Gunidas. Chhota Khayal in Tantal was his father’s creation. Suhas’s full-fledged voice and careful performance revived his father’s memory. Raga Shuda Kalyan was the opposite opposite after Sombre Raga Shree, before he was concluded with a novel hymn.

The main attraction of the opening evening was a lively vocal repetition by PT. Sajan Mishra with his talented son Swaranash. PT. Sajan Mishra chose the raga Jog-which made by Ganidas, and presented two compositions of Bad Ramdas ji, known for the sweet and philosophical material of his prisoners. He was accompanied by PT on Tala. Vinod Lele, who provided perfect theka, and Dr. Vinay Mishra, who reflected the outspoken nuances on the harmonium.

PT. Sajan Mishra with his son Swaransh | Photo Credit: Special Arrangement

It was glad to see that Sajan Mishra expanded the raga and interacted on both Gandhar. Swarnash brought the compositions of ‘Kahe Guman Kar Baware’ and ‘Jagat Hai Sapna / Kou Nahin Apna’ respectively to the delay and drut actal respectively. The two supplemented each other, hiding and searching with AOL alap and a variety of tans. Only one wish that they have longer for the second raga than to finish with a small sohini.

PT. Satish Vyas, PT. CR Vyasa’s son and Suhas’s brother opened Samora with his santoor. He trained under PT. Shiv Kumar Sharma. He played the role of Dhanki Kalyan, a raga made by his father. As the name suggests (DHA-NA IE Dhaivat Nahin and Ko-Ni IE Komal Nishad) Kalyan had no dhavat, Nishad Komal and Tivra Madhyham.

PT. The festival curator Satish Vyas plays a tribute concert in memory of his father. , Photo Credit: Special Arrangement

He played the role of a detailed Alap-JOD and Jhala in this raga, followed by three compositions that were prescribed to slow down Jhapatal and medium and drut tental. PT. Ram Kumar Mishra gave him great support on tabla. Since he was also a host, it would have been amazing if guest artist Sajan Mishra was offered more time.