Pandit Taranath Foundation presented a sitar recital at Mysore recently by Pandita Sandhya Phadke Apte from Pune. Pandit Rajeev Taranath’s described in his characteristic fashion that it was chaste music, ‘mindu madiyuttu kelabekaada shuddha shastreeya sangeeta’.
Sandhyaji is a disciple of the living legend Annapurna Devi, whose music embodies the richest elements of the Maihar-Senia gharana . Sandhyaji commenced her concert with the morning-melody Ahirbhairav which she explored in great detail, highlighting the khamaj ang by choice. Right from the opening phrase of the seamless alaap , she poured forth sublime sitar-music. The instantly appealing raga Ahirbhairav unfolded in her hands with great dignity. While the melancholic meditation that she infused into her exploration led to misty-eyed emotion at crucial turns, the hall seemed pervaded by the chosen audience’s adoration for Annapurnaji’s life and music.
Well-versed in the technical intricacies of instrumental music, Sandhyaji exercised a rare aesthetic discretion in the matter of the right proportion as well, clearly borne out by her mesmerizing krintans and murkis . The bols were an awesome combination of delicate and vigorous elements leading to a robust layakaari . The vibrant jod-alaap engaging power-packed gamaks executed with pronounced swara shuddhi showcased every instrumental subtlety, weaving the aesthetic experience from a source of deeply embedded internal laya .
The hallmark of Sandhyaji’s music was its pristine brilliance. The raga flowed river-like marked by clear crystal-like bols, laya-bheda portions with stunning layakaari strings and dense mercuric taans woven in myriad patterns. Sandhyaji’s traditional dhrupad idiom was neatly defined lending an ethereal charm to the raga’s exploration in every phase.
A dhun in raga Mishra Mand set to dadra taal followed. Stating that her guruma is not inclined towards the dhun and such other forms, she chose her own composition for delineation taking it onward in a sprightly folk fashion, flashing percussive sarod-like bols occasionally.
Sandhyaji concluded her recital with a composition in Sindhubhairavi, a favourite raga with the Maihar gharana exponents. Sandhyaji chose her father’s composition, set in Pandit Ravishankar’s style, to pay her respects to the Panditji, followed by a short drut composition.
The rhythmic journey was enriched by an intensely sensitive tabla-playing by our own Pandit Ravindra Yavagal. The aesthetic alacrity with which he matched the layakari in the robust language of the tabla, adding to the melodic element constantly was pure joy. The perfect restraint and volume-control that he exercised in the majestic vilambit gat, simultaneously creating a proficient tabla-gayaki was a blessing really. Sandhyaji’s music learning dates back to her grandfather, Pandit Vaman Rao Phadke, a disciple of Vishnu Digambar Paluskar, who taught her vocal music. Formal training in sitar along with her younger brother Sudhir began under her father Sacchidananda Phadke, eminent sitarist and composer. His unremitting persuasion ensured for the junior Phadkes, the rare fortune of coming under the wings of Annapurnaji and the meaningful journey thereafter.
Sandhyaji’s journey signifies music as an experience in selflessness and humility. On one hand, is a disciple who brings forth a treasure like an ambassador of her magnanimous guru’s richness. On the other, Annapurnaji’s deliberate withdrawal from the performing arena does not preclude her bountiful gift to the world of music; she continues to nurture extraordinary talent. While music tradition is qualified by individual talents on one hand, simultaneously it also transcends individuals thereby making music the towering all-powerful presence, enveloping the guru, shishya and listener, all in its benign fold.
