At a recent music concert, Mehfil, the audience experienced the melodic exposition of Bhuvamesh Komkali, the grandson of Gandharva. He shares with Utpal K Banerjee that he has learnt much from his grandfather’s recording
Among the classical music’s best-recognised virtuoso performers, Kumar Gandharva (1924-1992) was a celebrity from Karnataka, known for his unique vocal style and his refusal to be bound by the tradition of any gharana. The title Kumar Gandharva was acquired as a child prodigy — ‘gandharva’ being a musical spirit in Indian mythology — yet he wove around him a fate of incurable ailment from 1947 when he was stricken with tuberculosis (till his spectacular cure by the newly-discovered streptomycine).
Told that trying to sing could be fatal and that he would never sing again, Gandharva endured a period of bed-ridden, total silence for the next six years, listening to sounds of nature around him — birds, the wind and passing street-singers. He would hum to himself — almost inaudibly — and mark the beginning of his radical new conception of nirgun bhajan: celebrating a formless divinity. In particular, he would evolve his own repertoire of ragas, drawing from the fountainhead of folk melodies. This would be considered his unique contribution to the genre of Hindustani classical music for his singing years to come.
Mehfil, the recent music concert with Kumar Gandharva bani, saw the melodic exposition of Bhuvamesh Komkali, the grandson of Gandharva and a worthy torch-bearer of his legacy. Bhuvanesh began his recital with a leisurely alaap in raga Kalyaan: Banu re balayyaa… which was a traditional bandish (lyric). Set in tala jhumra vilambit, this was followed by a Kumar Gandharva composition: Piharawa aao tum…Sung in fast tempo, drut teen taal, it provided a refreshing contrast. Next came a short composition, also by Gandharva, in teen taal Madhyalaya: Heera moti nibje… in the rare ragajaladhar vasanti. Then came a more expansive composition by Gandharva in raga Kedar: Chhaila tu aain koi…
Next, raga Sohni followed in fast tempo again, with a traditional lyric: Yeh drum drum lata… It created beautiful melodic ambience. Transiting to the light classical thumri, Bhuvanesh sang a traditional piece again:Main kaise aaun balmaa… in a composite raga Pilooo Khamaj.
Then came the folksy Maand with a characteristic Gandharva touch: Raam bin Siya akulai… After the penultimate nirgun bhajan: Guruji na diyo amar naam…, the finale was another nirgun bhajan in lilting Bhairavi with a pensive Gandharva penmanship: Mat bawraa bhayo…
Excerpts from interactions with the singer:
How do you bear your inimitable legacyIJ
look, I’ve an unconventional, high-pitched voice. I’m acutely aware of the legacy I’ve inherited. My audience mostly comprises staunch Kumar Gandharva fans. The start of the concert is a nerve-racking moment. The solution is to surrender to the moment and just perform,
How deep were Gandharva’s links with the folk rootsIJ
My grandfather firmly believed that all classical ragas have their deep-rooted folk origin. He drew sustenance from these roots and created as many as 12 composite, folk-linked ragas. No other classical musician has done as much!
How do you recall your association with your grandfatherIJ
I remember my grandfather sitting and practicing all day, coaxing the young me to sing. Even as a child, I was mesmerised. Gandharva interpreted music by taking the best from every gharana and putting it together in a single bandish. This was a radical break from the prevailing order of contemporary musicians!
How did the latter react to Gandharva’s styleIJ
Gandharva was a purist’s nightmare. He decided to break away radically from the upper-class moorings of classical music. He managed to reach the soul of people, especially with those beautiful Nirgun bhajans.
How do you view yourself growing in his shadowsIJ
My grandfather’s presence in my formative years equipped me with a strong base. I also learned much from his recordings. But my grandmother Vasundhara Komkali has taught me everything I know. She helped me get used to the idea of being a musician. I also spent a long time training under my vocalist-guru Madhup Mudgal to understand the inflections of the male voice. On the whole, I follow what my grandfather did. Will I innovate, break away from the existing teachingsIJ I don’t know yet.