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Suresh Tawalkar & Satyajit Tawalkar - Tabla Duet . |
Artist:
Pandit Suresh Talwalkar - Tabla
Satyajit Talwalkar - Tabla
Milind Kulkarni - Harmonium
Kumar Mardu - Vocal
Tracks - 1-13
Tabla solo in Deepchandi
Vocal lehera in Raag Shiv Kalyan
Tracks -14-27
Tabla solo in Teentaal
Vocal lehera in Raag Sohini
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Pandit Suresh Talwalkar is one of the most influential and revered Indian tabla
players of our times, acknowledged by his contemporaries as a musician who has
played a leading role in shaping modern tabla playing aesthetics.
He is a rare combination of outstanding Guru and brilliant performer, who has
developed a distinctive solo repertoire while introducing several significant innovations
into the tradition. His performances are highly energetic and animated, engaging
audiences who take joy in witnessing an exceptional artist fully immersed in the sheer
joy and abundance of his music on stage.
His accompaniment is renowned for its high level of musicality, and his ability to
empathize fully with the soloist has endeared him to music lovers.
He carries with him a vast knowledge of Indian rhythm, not only tapping into the vast tabla repertoire of North India, built up by great masters over hundreds of years,
but also as a connoisseur of the rich and often complex Carnatic tala system of South India.
Suresh Talwalkar belongs to a famous family of Keertankars, musically inclined preachers (kirt = to celebrate, praise or glorify), who tell tales of mythology
and educate the masses through a classical form of devotional and musical discourse.
His father, Dattatrey Talwalkar first initiated him into tabla at a very young age. He then went on to receive intensive training from Pandharinath Nageshkar and Vinayakrao Gangreker. His diverse training in Carnatic layashastra (the science of rhythm) from Ramanand Ishwaran has enabled him to imbibe the intricacies of both North and South Indian Tala Systems.
In his early days he was a regular accompanist to some great Maharastrian performers
like Pt. Gajananbuva Joshi and Pt. Nivruttibuva Sarnaik, whom he still regards as his
gurus and attributes to them the deep insight that he carries today for classical music.
As a teacher and esteemed guru Sureshji firmly believes that, "Guru Shishya
Parampara" is the soul of Indian classical music. This involves a close, spiritual
relationship between the student and master built up over time. As a guru, his
teaching ability and expertise is unmatched. He has mentored a procession of expert
tabla protégés, including Vijay Ghate, Ramdas Palsule, Charudatta Phadke, as well as
his prodigious son Satyajit who has already attained great heights in the field of solo
playing, accompaniment for vocal, instrumental music and Kathak dance.
The Music
Unlike a conventional tabla solo, where the listener is amazed by the presenter's
capacity to play fast or complex phrases, the music rendered by Suresh Talwalkar
achieves wholeness and fulfilment. We are drawn not only to intricate rhythmic
patterns, but to an unimaginable platform where the listener becomes one with the
music. This oneness allows the listener to appreciate complex talas (rhythmic
patterns), which at the maestro's fingertips sound easy and fluent, so much so that
within a few minutes one starts to clap in tandem rhythm with it. The use of the
vocalist, in addition to harmonium or sarangi (used conventionally), as an
accompaniment to tabla solo enhances the sheer beauty of the recital adding a whole
new dimension to the experience. The raga and lyrics of the accompanying
composition, the blend of vocal, sitar and harmonium as support, alongside the use of
other tabla, usually tuned to an octave higher, lead to a perfectly orchestrated,
synchronised and enthralling musical experience. During his performance, one can
observe how Sureshji (as he his affectionately known) commands and controls the 'sur'
and 'laya' of every single sound that is produced by the musicians sitting around him.
The subtle communication with the musicians is used to guide them towards musical
perfection, which he never compromises with.
It is not merely a percussion solo, but analogous to a vocalist singing an appealing raga
that makes the atmosphere meditative. Sureshji, while playing, practicing or teaching
attains musical transcendence, transferring vibrant waves of positivity which have the
power to elevate the listener. Tabla is the tool and music is the path where not only
he, but the listener can travel to an ultimate destination of completeness.
Suresh Talwalkar is perfect, methodical, systematic and progressive in his playing,
whether it be taal Deepchandi of 14 beats with 3+4+3+4 divisions or complex tisra
jati Jhaptaal (1.5 times of 10 beat cycle). Every sound is thought of and is worked on.
Every 'tihai' whether 'bedam' (without gaps) or 'nauhakka' (3 x 3 with equal gaps
between all the 9 phrases) is perfect and has mathematical logic attached to it. The
musical journey he brings in his presentation has stages of climax and fullness.
Taal Deepchandi (Tracks 1-13)
Deepchandi is a 14 beat cycle with divisions of 3 - 4 3 - 4. All compositions are
'vistaar shama rachnayein', meaning expandable in design, and include peshkar, kayida,
rela and rou.
Throughout the solo, Sureshji plays on the lower tuned tabla, while Satyajit's tabla is
tuned to the higher octave tonic note.
The accompanying composition to Taal Deepchandi is set to 'Raag Shiv Kalyan', which
is a mix of Raag Yaman of Kalyan Thaat (scale) and Shivranjani.
Track 1 - Alap
Sung by Kumar Mardu, the alap is an un-metered, improvised and unaccompanied
elaboration of the main phrases of the raag, outlining its character.
Tracks 2-3 - Vocal Lehera/Peshkar
Nisa din bhajo mana hari naam
Bajata mridanga bhajan ke sang
Aata sukh kije sura laya sang
"Every moment one should sing in the name of God (Hari). Mridang (a percussion
instrument) is played with bhajans. Bhajan is singing in praise of God. One can achieve
extreme joy with sur (musical notes) and laya (rhythm)."
Peshkar is the traditional starting point for a tabla solo recital. It is an introductory
improvisatory form beginning in a slow tempo, concentrating initially on a few select
tabla syllables such as na/ta, ge, dha, dhin and tin.
Peshkar gradually and systematically unfolds presenting different tabla phrases as it
expands in different lay (multiples of tempo). Sureshji divides the 14 beats into two
halves with the first half depicting taali (bols with 'dha' dominance) and the second half
in khali (dominated by khali bols such as ta, tin). Each half is presented in several ways,
however the dominant structure revolves around divisions of either 2¼,1½,1, 2¼ or
3½, 3½, 3½, 3½.
Track 4 - Kayida
The Kayida is from Ajrara gharana, one of the six established styles of tabla playing in
North India. It is played in aad lay (1½ x speed) and then double speed. Kayida is a
theme and variation form which is a main feature of most tabla solo recitals because
of its great scope for creative elaboration. It is a composed theme followed by a
sequence of improvised variations known as palta played according to set rules.
Track 5 - Chalan
Chalan is a short composition with an emphasis on rhythmic division (chand) or jati.
The improvisations taking place in chalan are filled with a variety of bols and patterns.
The player may initiate a rou, kayida or rela using chalan as a starting point. Chalan
evolves into Rou at high speed, concluding with a chakradaar tehai.
Track 6 - Chalan/Kayida
Played by Satyajit Talwalkar with anaghat ending (i.e. deliberately finished just before
sum, or first beat of the cycle, to create anticipation of sam). This conversation is taken
up by Sureshji in the form of another chalan evolving into a kayida with end phrases of
the Lucknow gharana (Dha tirekitetaka dhina nana gina).
Track 7 - Chalan
Played in aad laya (tisra jati) in the style of Ajrara gharana.
Track 8 - Chalan
Played in divisions of 13/4 leading to a rela using 'dhire dhire' kita taka'.
Track 9 - Rou
Rou is a composition played in fast tempo. A rou is evolved from a slower tempo
composition. In rou, the skeletal form of the original slower composition is maintained
while played in faster speed. The fast bol patterns ultimately give an impression of the
basic framework and remind us of the beautiful composition, initially being used. It is
based on rhythmic divisions of 13/4.
Track 10-11 - Rela
Rela is an improvised form, less expansive than kayida, but appealing because of the
use of rapidly articulated syllables like 'dine gine', 'tirakita', ghidanaga and dhire dhire.
The bols of the chalan are divided into 2¼ -1-1½ -2 ¼, and the bols of the rela are
dominated by DhaSTiraKita TakaTiraKita DhinSTiRaKiTa. The rela ends with a tihai
with a ¾ gap between the three parts of the tihai.
Track 12 - Paran
Paran is a fixed composition form taken from the vast repertoire of the ancient
Pakhawaj drum. It is bold and dynamic in nature.
Track 13 - Rela
Divya Sakirna is one of the jatis played in South Indian rhythmic tradition. Jati can be described as form of laya, such as tira jati (3 bols in 1 beat), Chatasra (4 bols in 1 beat),
Khand (5 in 1), Misra (7 in 1) and Sakirna (9 in 1 beat). When one plays 11 bols in 1
beat (or its multiples), it is referred to as 'Divya Sakirna'.
Teentaal Drut
Teentaal is the most popular taal played in tabla solo. It has a 16 beat cycle. The
divisions are 4+4+4+4. The composition that has been used as an accompaniment
is set to Raga Sohini.
Track 14 - Alap in Raag Sohini
followed by bandish (composition).
Kanha Karat Nita Cheda Sakhiri
Hori Khelat rang rang murari.
Kahe aati dhuum machaayi Kanhaiya
Dheet langar karat raar aiso
Hori khelat rang rang murari.
It describes how Krishna plays with the gopikas on the occasion of Holi, a festival of
colour and gaiety.
A feature of Sureshji's rendering is that all compositions and improvisations end at the
8th beat of Teentaal, from where the composition (mukhada) begins.
All compositions are either traditional or original creations of Sureshji. These
compositions are pre-set with almost negligible need or scope for expansion and
therefore are known as 'Avistaarshama rachnayein' meaning non-expandable.
Track 15 - Pardhant/Taan
Pardhant is the vocal recitation of the bols of the tabla. Here Sureshji recites tabla
phrases in response to sung taans (elaborated improvisations). The exchange between
the tabla, vocal and padhant is a unique innovation of Suresh Talwalkar.
Tracks 16-21 - Paran
A series of parans are performed, which are either traditional or otherwise innovative
variations of old compositions conceived by Suresh Talwalkar. The compositions are
recited before playing.
Track 22 - Tripalli Paran
Compositions known as tripalli are played in three laya. This is also known as 'darje
daar paran', that is phrases in three levels.
Track 23 - Paran
Sureshji plays compositions which end anaghat. Anaghat means ending just before
sam (first beat of the rhythm cycle). This composition has been adopted from
Janardhan Abhayankar (Pakhwaj player).
Track 24 - Paran
Track 25
Composition of Umesh Moghe, a young talented tabla player.
Track 26 - Paran
Paran performed in Antara.
Antara is the second part of a melodic composition (bandish), which is usually played
or sung in the upper octave of a chosen scale.
Track 27 - Rou/Tehai
Sureshji playfully elaborates teentaal by skilfully emphasising the off beats to great
effect. This improvisation converts into rou with a series of dynamic tehais to
conclude his presentation.
Notes: John Ball and Shrinivas Rao Mukku
(John Ball is based at the University of Sheffield, UK.
Shrinivas is associated with the University of Cambridge, UK)
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