Sanhita Nandi impresses with precise taans, rhythmic taals

In the opinion of experts, the Kirana style of vocal music has two wings— one that was pioneered by Abdul Karim Khan and the other developed by Waheed Khan.

Sanhita Nandi who performed at the Saptak Music Festival on Wednesday is a rare artist to have had training in both the styles of Kirana. She learnt vocal first from Pandit A Kanan, a disciple of Amir Khan and then from Pandit Vinayak Torvi of Kirana-Gwalior tradition. Nandi gave an absorbing demonstration of her deep understanding of both the styles and her choice of compositions as well as renditions.

Nandi began her recital with a Vilambit Bandish — Bahu Guna Kaam Na Aave Sajani, Jab Lag Karam Na Jaage — made unforgettable by Amir Khan in Raag Bageshri. The original Bandish is set to the 14-beat cycle of rhythm known as 'Jhoomra' but Nandi sang it in the 12-beat cycle of rhythm 'Ektaal'.

One could discern all the essential ingredients of the Kirana style such as the step-by-step development of mood (raag), pauses at right places, the attempts to create contemplative mood, gradual enhancement of the tempo, the Amirkhani way of reciting sargam and the fast Sappat Taans.

Nandi is blessed with a resplendent and melodious voice, which made her recital more effective and interesting. In the faster tempo, she impressed the listeners with her fast Taans, which were precise and in sur.

The second composition that Nandi chose to present was one of the most famous compositions of all time but rarely heard nowadays. It is Phagawa Brij Dekhan Ko Chalo Ri composed by Abdul Karim Khan in Raag Basant. Nandi was simply brilliant in this rendition and won applause from the listeners many a times during the rendition. She showed the necessary talent and potential to emerge as a prominent exponent of the Kirana school in the coming years.

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