Sanskrutik Vibhag which is the cultural wing of Shankaracharya Nyas has been pivotal in upholding the tradition of music, arts, literature and culture in Nashik. Since its inception the Sanskrutik Vibhag has offered a genuine platform to several eminent authors, artists, yoga experts and orators. Dr. Kurtokoti himself was a connoisseur of music and literature and the carefully curated concerts presented by Shankaracharya Nyas bear testimony to his profoundly sophisticated understanding of Indian classical music and literature.
In September 2012, Shri. Shridhar Phadke presented the evergreen ‘Geet Ramayan’ in the well-appointed and acoustically balanced, centrally air-conditioned auditorium of Shankaracharya Nyas. With this first concert the Sanskrutik Vibhag embarked on a beautiful musical journey. The discerning patrons of Nashik supported this endeavour wholeheartedly through generous donations and steadfast participation.
Sanskrutik Vibhag hosts concerts regularly. It is an ‘Open-to-All’ with no entry fee charged to the listeners. So far Pt. Venkateshkumar, Vid. R. Kumaresh (Violin) and Vid. Jayanti Kumaresh (Veena), Pt. Vijay Sardeshmukh and several eminent artists have performed at the Nyas. Four upcoming artists received audience appreciation in the Malhar Festival. One of the well-received and still remembered concerts was the translations of Kalidas’ famous ballad, “Meghdoot”.
Today Nyas has become a strong presence in the socio-cultural eco-system of Nashik. Recognising its contribution to art and music, the renowned cultural organisation, the National Centre for Performing Arts (NCPA), Mumbai came forward to collaborate with Nyas in its musical endeavours. A long and fruitful association began in 2015 with a concert by Pandit Ulhas Kashalkar. Together the Nyas and NCPA have carefully curated and co-hosted as well as co-branded several musical and literary events. A ‘Yuva Mahotsav’ as well as a novel listening were greatly appreciated by the patrons of Nashik.
Shortly after, the Sanskrutik Vibhag gave Nashik its very own music festival, the Kurtakoti Sangeet Mahotsav. It is a three-concert music fest held over a weekend in the month of November.
In the first session of the Sangeet Mahotsav on 17th November 2018 Deepak Kshirsagar performed a melodious rendition on the Slide Guitar. Pandita Ashwini Bhide ushered in the next session with Jaipur gharana gayaki which is renowned for its exquisite laykari and a rich repertoire of jod ragas and sankeerna ragas.
On 18th November 2018 the morning session began with vocals by Ramakant Gaikwad, a versatile vocalist of Patiala gharana. Patiala gharana is known for its emotionally evocative and yet emphatically clear diction and enunciation.
It was followed by the majestic resonance of the Rudraveena, masterfully presented by Mohi Bahauddin Dagar. The luxuriant and almost sacred overtones of the Rudraveena are ideal for the interpretation of the ragas in the Dhrupad style. It particularly emphasises the musical microtones allowing sound and melody to flow smoothly. Beginning as an accompanying instrument the Veena later developed its own soloistic musical form.
In the third session of the festival, Padmashree Pandit M. Venkateshkumar presented his unparalleled blend of Khayal gayaki, an exquisite mosaic of Gwalior and Kirana gharana. His robust, full-throated voice transported the audience into a musical trance.
Sangeet Mahotsav 2019
The festival began with a mellifluous recital in the inimitable Mewati gharana gayaki by Ankita Joshi, a disciple of Pandit Jasraj. Stylistic yet traditional, romantic and also spiritual is how Mewati gayaki unfolds. Ankita did complete justice to this style of vocal music and her petite stature belied the well-practiced confidence with which she approached the aesthetic gayaki.
Padmashree Pandit Satish Vyas took the stage in the second session. A quiet, contemplative presence on the stage as he sat crossed legged cradling his Santoor. The first few notes opened the petals of the raga, gently, persuasively. But soon he embarked on extraordinary permutations with a determination that seamlessly blended technical competence with aesthetic exposition.
The morning session began with Sarod recital by Abhishek Borkar. Abhishek is rapidly gaining recognition as a versatile Sarod player in India. His bold imaginative approach was enjoyed by the listeners.
Uday Bhavalkar weaved magic with dhrupad gayaki. Dhrupad is mainly religious in temperament with its origins traced back to the Vedas. Bhawalkar’s sincere and honest presentation of the gayaki, his mastery over the genre, his strong yet soothing voice, and his easy connect with the audience always spells success for his concerts.
Pandit Buddhaditya Mukherjee was the chief artist in the evening concert. A maestro of the Indian classical Sitar and the Surbahar, Pandit Buddhaditya introduced the Imdadkhani gharana to the listeners. Deep meends, or the gliding notes, a gayaki style of playing, high speed, complete clarity and control of the instrument are all a part of his renditions.
Sangeet Mahotsav 2021
Chinmayee Athalye a disciple of Pandita Veena Sahasrabhuddhe opened the first session. Her honest straight from the heart performance coupled with the much-loved Gwalior gharana had the audience asking for more.
In the second session, the listeners enjoyed the Sitar rendition by Pandit Pushpraj Koshti. The clarity of the raag Swaroop, the simplistic and spiritual overtones brought the essence of Dagarvani tradition to the fore.
The morning session saw a young talented but extremely confident violinist in Manas Kumar. What began with soft mellifluous bow strokes soon developed into a beautiful musical montage of melodious notes and rhythm.
Pandit Sanjiv Chimalgi is one of the most prominent and promising Hindustani classical vocalists of his generation. His concerts are known for the fluidity and grace with which he presents a raag and the delicacy of approach to the bol and svar. A disciple of Pandit C R Vyas, Chimalgi shows refinement and immaculate understanding of Gwalior, Kirana and Agra gharanas.
The evening concert was by Pandit Partho Sarothy, one of the finest sarod artists of the country. His music embodies the true heritage of Hindustani raagdari music. His exploration of ragas is an exercise in harmony, tranquility and fulfilment.
Sangeet Mahotsav 2022
The first session of the Sangeet Mahotsav began with a scintillating recital of the Santoor by the Japanese artist Takahiro Arai, disciple of Pandit Shiv Kumar Sharma. Takahiro set the mood of the evening with the melodious notes of raag Puriya Kalyan. And when he gently entered the final part of his performance with raag Pahadi, the interwoven stillness and peace of his notes juxtaposed with the playfulness of the raag encapsulated the audience in a beautiful realm of music. Chandrashekhar Gandhi, disciple of Pt. Yogesh Shamsi, accompanied Takahiro on the Tabla with a maturity which belied his youthful appearance.
It was a treat to hear Vidushi Kalapini Komkali in the second half of the session. Endowed with a rich, bold voice, Kalapini Komkali, is considered a true representative of the unique gayaki of Pandit Kumar Gandharva. Raag Nand is a rare treat and it was especially welcome when the pleasing notes resonated beautifully in the well-appointed Kurtakoti Sabhagruha. Komkali was accompanied on the harmonium by the versatile Shri. Suyog Kundalkar and on the Tabla by Shri. Sanjay Deshpande.
The next morning session saw a very young but very talented and confident Aishwarya Rao on the stage. Aishwarya presented a unique blend of the Gwalior, Agra, Jaipur gharana, with supreme confidence and well-practised ease. She was accompanied on the harmonium by Shri. Dnyaneshwar Sonawane and on the Tabla by Shri. Tanay Rege.
Vidushi Dr. Kamala Shankar ushered in the next session with an emotive recital of the slide guitar. Dr. Shankar is one of the finest and the only female leading Indian classical guitar players of the country. She has evolved her art and plays her specialised guitar in the Gayaki Ang which has mesmerised the audiences for the past four decades. Dr. Shankar was accompanied on the Tabla by Shri. Vinod Lele. His careful restraint in not shadowing the layered vibratos of the guitar with the sharp notes of the Tabla, demonstrated his keen understanding of the comprehensive effect of a performance.
The concluding concert was a three-hour musical treat by Pandit Vinayak Torvi. Pandit Torvi weaved magic with his resonant, yet soothing voice, establishing the raags in a synchronous gayaki style which belonged to the rich musical heritage of yesteryears. A renowned khayal vocalist from Karnataka, Pandit Torvi blends Gwalior, Kirana and Agra gharanas with a rare combination of aesthetic creativity and technique, inspiring music afficionados to call him the ‘Sur Lay ka Badshah’.
He was accompanied with complementing expertise on the harmonium by Shri. Suyog Kundalkar and the Tabla by Shri. Sanjay Deshpande.
