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The Hindu
2 days ago
- Entertainment
- The Hindu
Inside new age baithaks: Enjoy soulful music with home-cooked meals and a space for pets
Small intimate music soirees or baithaks are once again becoming the go-to space for lovers of classical music, particularly in the national capital. No longer called just baithaks, they are held in drawing rooms or residential gardens and are attended by both connoisseurs and the uninitiated. The music sessions are often followed by a leisurely meal and interaction with the performers. Sheila Dhar, author and singer from the Kirana gharana has written about these gatherings in her anecdotal books on music. In Delhi, families such as Shrirams, Mathurs and Bahadurs used to regularly hold baithaks in their homes. In the 1960s, thumri exponent Naina Devi's baithaks were attended by the cognoscenti. Inspired by her, Vinod Kapur and his wife Anita began organising such sessions. Popularly known as VSK Baithak, over the years, it has featured many renowned artistes and are well-attended. In recent times, young music lovers-turned-curators have joined the baithak bandwagon. The trend has gained momentum in Delhi in the past year with most baithaks becoming ticketed events. One of the main reasons for this is the instant artiste-audience connect that baithaks facilitate. Young listeners, especially prefer the relaxed ambience, where concert protocols are not strictly followed. But baithaks are not new to Indian classical music, which has traditionally been enjoyed and experienced in an informal and intimate setting. Artistes too view this as a welcome space and are even willing to charge less to encourage such ventures. But the new-age baithaks pose a different kind of a challenge to them. These sessions now attract a mixed audience, including first-time listeners. So performers have tailor the concerts to appeal to a diverse group. 'Upstairswithus' in Vasant Kunj has organised more than nine concerts in a span of six-months. Though the space is small and located on the top-floor of an apartment without a lift, the warmth of the hosts — Sukanya and Tejas — draws in the audience. 'Combining a home-cooked meal with the ticket is a must,' says Sukanya, who explains that for young listeners, 'going back home to order a meal could be tedious'. This also gives listeners an opportunity to meet, eat together and discuss music. Upstairswithus also allows pets to the concerts. The hosts have been marketing it as an additional feature of their baithaks. The U.K.-based sarodist-composer Soumik Datta, who performed here recently, bravely managed with the basic home amplification sound system available here. The success of their venture has encouraged Sukanya to hold training sessions on how to conduct a baithak and also weekend vocal training workshops. Going forward, the couple plans to introduce Upstairswithus merchandise. The aim seems to be to keep adding new listeners. Operating out of Dwarka, a suburb in Delhi, Evenings Unplugged, is another venture by music lovers Varun and Soumya. As a child, Soumya was introduced to baithaks in Bhilai (Madhya Pradesh) as would regularly attend such gatherings at Acharya Bimalendu Mukherji's house. Since she wanted her two-year-old son also to have the same exposure to classical music, Soumya decided to hold baithaks. Evenings Unplugged also caters to listeners not much familiar with the art form. Recently, sitarist Soumitra Thakur played some excellent music along with explaining the nuances to the audience. The professional sound system enhanced the concert experience. Here too, the evening included a simple home-cooked meal and an interactive session between the performer and the listeners. According to Varun, since there are hardly any classical music concerts happening in Dwarka, we thought of baithaks to reach out to music lovers in the locality. Speaking after the performance, Soumitra said, 'Young artistes like me have to create opportunities for themselves. They have to devise ways to bring new listeners into the fold. Soumitra, who has founded 'Siddhirasa', hosts baithaks in Greater Kailash colony. 'This tradition will help preserve the soul of classical music. I feel music finds its truest expression in such an ambience,' he added. There is also Naadyatra in Gurgaon; and the common thread amongst these appears to be the emphasis on ticketing the concerts. It also seems like the music lovers are growing weary of listening to the same set of artistes, in an impersonal auditorium space. They feel baithaks' simpler set ups offer a more meaningful concert experience.
The Hindu
13-08-2025
- Entertainment
- The Hindu
Young musicians captured the beauty of the monsoon raags at the Malhar Utsav
It is heartening to see musicians turning organisers as their artistry comes through in the curation. So it was with the Malhar Utsav held recently in Delhi. It was put together by tabla exponent Ustad Akram Khan's Tabla Academy of Ajrara Gharana. The first concert was a jugalbandi between Imdadkhani gharana sitarist Shakir Khan, and Kirana gharana vocalist Arshad Ali Khan. They were accompanied on the tabla by 22-year-old Zargham Akram Khan, scion of the Ajrara gharana. Shakir and Arshad have collaborated on stage before, though this was their first performance in Delhi. Shakir is the son of sitar maestro Ustad Shahid Parvez, with an impressive eight generational musical legacy. Arshad is a child prodigy, belonging to the family of the founders of the Kirana gharana, Ustad Abdul Karim Khan and Ustad Abdul Wahid Khan. Though the camaraderie was visible, this performance had both artistes showcasing their taalim and riyaaz. The concert was not about musical one-upmanship, the two artistes made it exciting by matching each other's prowess. They chose the raag of the season, Mian Malhar. Shakir the older and senior started the concert with his gharana's customary flourish; Arshad responded by going straight to the 'sa' in the lower octave, a difficult feat for any vocalist before the voice warms up. They rendered a brief alap as per the instrumental tradition, then moved onto the composition. The concert was short, under 60 minutes, but every minute was used well. The composition was a traditional vocal bandish on Mughal emperor Mohammed Shah Rangile. Arshad's guru Ustad Mashrur Ali Khan is well-known for his treasure trove of rare old bandish. Shakir held his own, not needing the prop of the evocative lyrics to make his point, musically. The 'choot' taans that Shakir effortlessly played, in lightening speed, were stunning. These were matched by Arshad's long and intricate taans in three octaves. Zarkham on the tabla was not over-awed by his senior co artistes. His sangat was mature and most appropriate. The concluding tarana again was an old composition with a beautiful 'antara', which sadly Arshad sang only once, probably due to time constraints. Striking the right note Abhisek Lahiri on the sarod is another talented young artiste. Having learnt from his father Alok Lahiri, he is apparently trained in the sarod's three traditions — Maihar, Shahjahanpur Senia and Bangash. Starting with raag Megh, the original raag of the monsoons, which predates Malhar, Abhisek created a serene ambience. His 'jor' was in the dhrupad style, his 'jhala' extensive, crystal clear and immensely satisfying. It was a pleasure to hear a solid performer who not once resorted to gimmicks to attract audience's attention. Switching to raag Surdasi Malhar, Abhisek was joined on the tabla by Ustad Akram Khan. Surdasi Malhar has a distinct, concise character. The Jhaptaal gat was composed by Abhisek's father, with an unusual pick up of the 'mukhda' from the 8th beat; during his solo piece. Akram too ended on the mukhda instead of 'sam'. The 'sawaal jawaab' between the two was refreshing. One admired Abhisek for the control over the instrument, and his effortless layakaari. His artistry was a reminder of the music of an earlier era.
