Sameehan Kashalkar opens his performance with Raag Marwa. This concert is a showcase of the guru-shishya parampara at the Darbar Festival 2011, where a few young musicians were presented as an extension of the style and legacy they have inherited as disciples of their guru/father.
Kashalkar has a silken voice and mature expression; He performs this challenging raga weaving deep, reposeful notes into evocative phrases. He emphasizes the resting points of Marwa – Re and Dha during his bol-alap, magnifying the meditative beauty of this raga. With a slow composition set to vilambit ektaal (12 beat cycle), he expands the poignant progressions with flair. The sombre and complex spectrum of Marwa is brought out in the middle and upper octaves with patient phrases and their appropriate sequencing.
The chota-khayal is set to a faster tempo in teental (16 beats); With earnest emotions, Kashalkar fills up the Marwa canvas with striking hues. He concludes this piece with a tarana, also set to a faster teental. He shows fine command over ornamentations and laykaari, capturing the imagination of his audience.
He is definitely a younger version of his father; having said that, he shows promise with his refined approach and proves his worth with a gripping recital, never giving his listeners a single redundant moment.
Manjeet Rasiya (tabla) and Chinmay Kolhatkar (harmonium) play out a brilliant team-work, supporting the young Kashalkar sensitively and elevating the performance to its best level.
An ancient melody that is both a thaat (parent scale) and a parent raga to a host of extremely powerful and popular ragas, Marwa represents the transition from day to night and opens a pathway to enter Kalyan Thaat. It uses 6 notes in its ascent and descent. The dominant note is komal Re (flat 2nd) and the sub-dominant is Dha (6th). It omits Pa (5th) from the scale and deploys teevra Ma (sharp 4th). Marwa has a somber mood, it is sung during sunset and projects an intense, meditative emotion.
One of the greatest Indian classical vocalists of all time, late Ustad Amir Khan, has contributed volumes to the Marwa repository with his emphasized delineation of Dha (6th) in the lower octave. This spin has imbued the raga with the introspective personality of a Yogi in a mood of renunciation.
Sameehan Kashalkar has learned his art from his father, Pandit Ulhas Kashalkar. He is a fine, young vocalist, emerging as one of the forerunners in khayal singing. His profound approach to ragas and his ability to render them with ease within the complex framework of north Indian classical music has won him accolades from seniors. He has also trained under the legendary Vidushi Girija Devi in thumri and is gradually establishing himself as a fine exponent of this form too.
Sameehan Kashalkar (khayal)
Manjeet Singh Rasiya (tabla)
Chinmay Kolhatkar (harmonium)
Shobhana Patel & Gunwant Kaur (tanpura)
Ragas Marwa, Thaat: Marwa, Samay: Sunset