Where Melody Meets Meaning: Celebrating 10 Years of Shadaj

On a rainy and cold Saturday morning in New England, the Scottish Rite Masonic Museum halls were abuzz with vibrant colors and the gentle rustle of silk sarees. Draped in festive Indian attire, people moved with purpose and joy, preparing for a momentous occasion—the 10-year anniversary celebration of Shadaj. This milestone marked a decade of nurturing and sharing the rich traditions of Indian classical music in the region. Shadaj's grand 10th-anniversary celebration built up anticipation for the promise of the day's musical offerings.

            As attendees began arriving, volunteers, with practiced efficiency, swiftly processed tickets. The excited crowd gradually settled into their seats with a sense of reverence for what lay ahead. True to Shadaj’s reputation for punctuality, the event began promptly on time with brief formalities and a traditional lamp-lighting ceremony led by community leaders and patrons. The stage, radiant with promise, stood ready to welcome a stellar lineup of artists featuring Pandit Sanjeev Abhyankar, a distinguished exponent of the Mewati Gharana; Aniruddha Aithal, a rising talent from the Kirana Gharana; Padmashree Ustad Shahid Parvez, the foremost sitar virtuoso of the Etawah Gharana with his son Shakir Khan; and Kaushiki Chakraborty, the celebrated voice of the Patiala Gharana and her son Rishith Desikan.

Rooted in tradition yet universally resonant, Hindustani classical music speaks the language of emotion. Even without understanding its technicalities, listeners are moved by its melodic richness, meditative flow, and expressive depth. Each artist brings their own training, temperament, and philosophy, shaping how the music connects with both connoisseurs and casual listeners. On Saturday, the Shadaj stage reflected this diversity, as artists from various gharanas offered distinct, captivating expressions of this timeless art form.

Each artist, with notes, rhythm, and lyrics as their palette, painted a distinct emotional landscape with sound. Sanjeev Abhyankar's gentle, silken voice became a tranquil passage to inner reflection. He opened the morning with ragas that evoked serenity and devotional introspection.  Aniruddha Aithal, ignited the stage with youthful fervor and passion. His performance pulsed with robust taans, crafting a portrait of unrestrained vitality. In contrast, Shahid Parvez's sitar offered a mature, introspective journey, probing the depths of the soul. Through sheer instrumental mastery, he wove mood and meaning, his sitar dancing between concord and dissonance, a wordless conversation with the soul. Kaushiki Chakraborty, with her resonant, opulent voice, conjured a realm of romantic grace, immersing the listener in lyrical enchantment.

Symmetry and proportion form the foundation of Hindustani classical music, bringing structure and balance to a presentation. From the unfolding of the alap to the development of the bandish and rhythmic play in laya, each element is carefully measured. Melodic ideas in the purvang (first half of the octave) often find balance in the uttarang (second half of the octave), while rhythmic cycles exemplify mathematical symmetry. The taans and layakari return to the sam with satisfying precision. This underlying geometry doesn't limit creativity—it enhances it, allowing performances to feel spontaneous yet beautifully ordered.

Each artist, then, drawing from their unique training, creativity, and experience, adjusts the proportions of various musical elements to suit the character of the raga. As Pandit Sanjeev Abhyankar explained, his interpretation of Raag Lalit differed significantly from Bhatiyar, and even more so from the lighter treatment of Jaunpuri—each tailored to the emotional essence of the raga. He avoided fast taans in Lalit to preserve its meditative depth, while in Bhatiyar, the use of swift taans heightened its inherent tension and urgency. Panditji’s selection of compositions in each raga reflected a thoughtful approach to balance and contrast as well. The lyrics expressing the agony of separation in the Lalit bandishes were beautifully contrasted by upbeat Bhatiyar compositions, capturing the playful, joyous spirit of Krishna. The Jaunpuri bandish, with its brisk tempo, offered yet another layer of contrast to the earlier compositions, adding rhythmic vitality to the overall presentation.

 Ustad Shahid Parvezji is known for his exploratory spirit—never performing for the gallery, but always in pursuit of the soul of the raga. In his rendition of Charukeshi, he leaned into Darbari-like phrases in the lower octave and subtly juxtaposed them with Nat Bhairav's gentle hues. His aalap revealed a masterful command of slow, deliberate phrasing—each note, each cluster, thoughtfully measured and proportioned to leave a deep and lasting impression. As one patron aptly remarked, “Only Ustadji’s articulation of notes and particularly of Shadaj - the note ‘Sa’, can reveal its deeply resonant brilliance.” Ustadji captured the essence of Miya Malhar through his exquisite phrasing on komal and shuddha Ni, conjuring vivid images of gathering monsoon clouds. His melodic interplay with Ojas Adhiya’s expressive tabla bols was perfectly measured, creating a soundscape that mirrored the gradual onset of rain. Sudden bursts of fast taans, like flashes of lightning cutting through the sky, added a powerful and evocative dimension to the performance.

In Kaushikiji’s performance each word of the lyrical text is placed with precision, seamlessly aligned with the appropriate notes and the rhythmic cycle to enhance both meaning and musicality. In the drut bandish of Bageshree, Kaushikiji’s choice of taal Ikwai, with its unconventional structure, added intrigue and it balanced well with the brisk clarity of her phrases and taans.

Aniruddha Aithal showed some taans in the distinctive Kirana style - seamlessly blending couple of notes at a time in progression, creating an effect akin to emulsifying sound into pure motion. Yet, he did not confine himself solely to the Kirana style of taans; he skillfully balanced them with various faster, more dynamic patterns.

Achieving balance and proportion in a Hindustani classical performance is an art that evolves with time. As an artist matures, they develop a keener sense of how to shape a performance with restraint, nuance, and thoughtful contrast. Yet, it is ultimately the audience that must receive the music, reflect on it, and guide its evolution through its response. The use of sargam patterns, for example, is used extensively and with great flair by many artists. But whether their use enhances the performance or overwhelms it depends on proportion, much like the making of the popular sweet, halwa. Every household may prepare it, but the taste varies depending on how much sugar, ghee, or spice is added. One certainly cannot use as much cardamom as sugar; the harmony lies in balance. Similarly, in music, overuse of any single element—however beautiful—can disturb the overall experience. The artist makes choices, but it is the audience who ultimately senses whether the proportions have created magic—or muddled the mix.

One of the most engaging moments in the presentation was the spirited sawal-jawab—a lively musical conversation between the vocalist and the accompanists. The dynamic exchanges between the singer, the tabla artist, and the harmonium and sarangi artists added layers of excitement and spontaneity. In Jaunpuri, Panditji's layakari and sargams danced in perfect unison with the tabla bols, a rhythmic mind meld. Their sawal-jawab unfolded a choreographed dance and etched a vivid image of a dancer's intricate footwork in the audience's mind. Aniruddha and the tabla maestro Sanjay Deshpande engaged in a playful musical exchange, where Aniruddha’s bol-taans were met with reciprocative phrasing from Sanjayji. In Bageshree tarana, the rhythmic interplay between the tabla's resonant bols and the crystalline vocal sargam of Kaushikiji was applauded by the audience. Beyond this external interaction, the instrumental and vocal artists also crafted an internal dialogue within the raga itself—offering contrasting or complementary phrases that played off one another. The father-son duo of Ustad Shahid Parvez and Shakir Khan showed such dialogue. Ustadji would present phrases rich in beauty, restraint, and intricate nuance, while Shakirbhai responded with spirited counter-phrases - an exchange of reverence and rising ambition. This subtle interplay within the melody, was also exemplified in Pandit Sanjeevji’s performance making the performance not just heard, but truly felt.

All the accompanying artists were exceptionally talented, each bringing an irreplaceable dimension to the music. Young Rishith Desikan also deserves special applause for the remarkable poise and confidence he displayed on stage.

 What unfolded on the festival stage that day transcended mere performance; it was a symphony of celebration where the sound and spirit not only met but utterly surpassed the expectations of all who gathered.

For the past decade, Shadaj has been steadfast in its mission to promote Indian classical music in the U.S. In its tenth year, Shadaj took a historic step by partnering with Lexington Public Schools to introduce Indian classical music into the curriculum for all students—a first in U.S. history. This initiative, made possible through years of community collaboration, was honored by the Governor of Massachusetts, who declared April 5th as Indian Classical Music Day. The recognition was not just symbolic; it was a validation of Shadaj's sustained effort and the dedication of its many volunteers.

The festival resonated with the audience, eliciting genuine gratitude. As they dispersed, a shared sentiment echoed: an earnest hope for this musical celebration to become an annual tradition.

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