Ruchira Panda | Raga Nand | Maiden TV Concert | Year 2000 | Vilambit And Drut Khayal

#ruchirapanda #kotaligharana #paramparik #paramparikconference The Kotali Gharana folks have been mavericks, always pushing boundaries - and that shows in the choice of Raga Nand ( Anandi Kalyan ) for a first TV concert of a very young Ruchira Panda. The same raag, the same set of words and yet so much variations in her delineation at this young age. The rasik can only be delighted. Raag Nand ( 24.06 min ) Raag Anandi / Anandi Kalyan "E Bare Saiyaan" - Vilambit in Tintaal Composer : Mehboob Khan "Daras Piya" "Jheesi Jaisi Aayo" - Drut Tintaal Composer: Pandit Manas Chakraborty "Sadasant" Tabla: Sujit Das Harmonium: Ranjan Mukherjee Presented By : Pandit Tejendra Narayan Majumdar Broadcast on Aakaash Bangla TV Year : 2000 India was still happily hooked onto clunky CRT tubes, long before 4K and curved panels. Pandit Tejendra Narayan Majumdar was curating an Indian Classical concert series - the stuff was more common then in commercial channels - before reality TV became viewers' drug of choice. The year, 2000. The choice of Raga Nand was interesting. The Raga and some of its traditional bandishes came to Kotali Gharana first through the great collector-of-rare-cheez-from-all-gharanas Sangeetacharya Girija Shankar Chakraborty, and later more Kotali bandishes arrived by dint of the pen of Pandit Manas Chakraborty. The original home of Nand is Agra-Jaipur - though the matrix of nupital criss-cross between the Guardians of the Gharanas, and natural migration have ensured different mixes, as rivers flow. The aesthetic landscape of Kotali Gharana has always been its point of pride - probably the best in the industry - the perfect amalgamation of rasa and bhava with the underpinnings of the Raga. The polyvalent word rasa finds exquisite detail in bringing out a Nand that floats around the shadows of at least three other Ragas - yet maintaining its aloof existence. Of course, 20 years later, time has aged her gayaki well, like an oak-soaked Chardonnay, and this one would be considered the rookie version post-fact, however brave and true a historical record it may be. The rendering of Nand in this piece shows traces of Jaipur in between Kotali melodic lines. The confluence of Gharanas that Kotali is, ensures that a Raga is rendered in the spirit, if not the letter, of the origin - so, Shudh Kalyan will have signatures of meend-heavy Kirana style. In his day, Sangeetacharya Tarapada Chakraborty would happily sing a Patiala bandish in pure Patiala style - so much so that Bade Ghulam Saheb coming next in the line-up would exclaim "Ab main kya gaunga - Patiala to ho hi gaya". One cannot escape the strong but fleeting mental association between Kotali's idea of Raga Nand with the mild chill of laid-back winter air, waiting to move but not moving, or, as is the case, lyrics around lives that are leafless, waiting for warmth or a shower, showing through the song. ------------------------------ More at: Ruchira Panda Indian Classical Vocalist | Composer Founder, Paramparik http://ruchirapanda.com   / ruchira.panda   http://paramparik.org PARAMPARIK, Kolkata's unique Indian Classical Conference since 2002. PARAMPARIK has made 8000+ underprivileged students from rural Bengal, successful professionals.