The Sankat Mochan Sangeet Samaroh of Varanasi (16^th – 21^st April) is an eagerly awaited event amongst musicians from all over India. The 102^nd chapter of this revered annual musical fest, unlike earlier ones, had several impromptu elements; and all of those were associated with one magnetic, multifarious personality, Professor Vishwambhar Nath Mishra, the Mahant (head Priest), Sankat Mochan Temple, Varanaasi.

Usually, the title ‘Mahant’ etches an image of a conservative stickler who doesn’t care to know anything beyond panjika, mispronounced Sanskrit mantras and blindly followed puja-rituals. But here one faced an emancipated Professor of Electronics Engineering IIT(BHU), Varanasi, and also the father of Pushkar, a handsome young man who is studying in Boston USA. Both of them are addicted to percussion instruments. While Pushkar plays the tabla, his father plays the pakhawaj, but with a different goal; and that is ‘swaantah sukhaay’ (for internal bliss). But this once he made several appearances on stage as accompanist. What made him do so? Hunger for popularity?    

 “Arre, aisa kucch bhi nahi (oh, none of these)!” Mahant ji was emphatic. Looking cool and comfortable in starched, white cotton dhoti-kurta in the sweltering heat of Benares, he explained, “Actually, I have never played on this stage. This year we wished to begin the Mahotsav with Hari (Prasad Chaurasia) ji’s auspicious flute. The living legend insisted that I should join him on stage. I was reluctant because we didn’t practice even for once. But it went off so well that I had to repeat my role on stage with dhrupad maestro Wasifuddin Dagar and mandolin wizard U Rajesh along with internationally acclaimed drummer Shivamani.” Apparently, he had worked on his pakhawaj and succeeded in making it run at a break-neck speed. In reality, this was paving the way for futuristic items on a platform which maintained its tradition so far!  

The Mahotsav, spread over six whole nights, featured more than hundred and fifty performing artists from all over India, different genres, musical lineages and age groups. Among the veteran classical vocalists, Ulhas Kashalkar’s Malkauns Bahar will remain etched on the minds of his initiated listeners while he cast his spell earlier with oft-heard Kanha re Nanda-nandana (Kedar). Both Ajoy Chakrabarty and Ajay Pohankar were their charming best while singing thumris; albeit very different from the traditional Purab Anga. Sajan Mishra, supported by son Swaransh, scripted a poignant finale with the lyrics of both slow ektal and medium teental khayal compositions in Basantmukhari. Their next, Damaru har kar baje (Gunkali) could do better with tala teevra than a sedate rupak which pacified the hidden power of this Shiv-stuti’s rich lyrics. Bhajan Samrat Anup Jalota was in a replay mode with tried and tested recipes only.  

Kashmir, the labour room of Shaivism and Shatatantri veena, had designed this hundred-string instrument to suit the tantra sadhana of a sect of Siva-devotees. Later, as an accompanying instrument of Sufi music, it became popular as santoor. During the Mahotsav, Tarun Bhattacharya’s power-packed music literally danced on the strings of santoor while Rahul Sharma followed the sophistication of his fabled father-guru Shivkumar Sharma and a younger Abhay Sopori improvised on the Sufiana devotion of his legendary beacon Bhajan Sopori.   

In the world of sitar, Purbayan Chatterjee has his fingers in every pie and is growing horizontally while Sahana Banerjee is rising vertically. There was a marked difference between their raagdari and gatkari. A much younger Mehtab Ali Niyazi displayed amazing control on both, technique and content. A little adjustment with mizrab’s pressure on strings and placement of mic would have made a world of difference to Bageshri, his chosen beauty! The solo recitals of sarod maestros Joydeep Ghosh and Abhishek Lahiri and the duets by violin Brothers M Manjunath-Nagraj (Carnatic) and Nahar Brothers, Santosh (violin) with Sahitya (sitar) were equally delighting.

If graceful kathak danseuse Nayanika Ghosh appeared like a delicate painting on the move, Mishra Brothers Gaurav and Saurabh exuded power. The sculpture like stances of Sujata Mohapatra remained the highs of Orissi guru Ratikanta Mohapatra’s choreography, presented by the members of Srijan. Bharatanatyam dancers Janani Murali and Lavanya Shankar impressed with their poised performances and precise movements.

Mythically, both Siva and Hanuman are great percussionists. Maybe that is why this Samaroh becomes the greatest congregation of top ranking tabla players, young or veteran. There were seniors like Sanju Sahai, Samar Saha, Suresh Talwalkar, Akram Khan, Ramkumar Mishra, Mithilesh Jha and several others, who illustrated the rules of flawless accompaniment that demands patience and superhuman restraint. Young Turks like Ishaan Ghosh, Yashwant Vaishnav, Bilal Khan Salonvi, Rohen Bose fitted the bill despite their individual brilliance.

Among them Debojyoti Bose went solo with élan, accompanied by Paromita Mukherjee (harmonium) and Gauri Banerjee (sarangi). One was delighted to find a girl among the three young sarangi exponents including Sangeet and Sandeep Mishra as main supporters of eminent vocalists and dancers. Harmonium players led by veterans Dharamnath Mishra, Vinay Mishra and Paromita Mukherjee enhanced the beauty of recitals, featuring them as accompanists.  There were many other items offered by artistes, big and small, who kept the flame burning. "We will meet here again next year" was the parting mantra.