Pandit Budhaditya&’s performance at a recent Kolkata Cultural Centre presentation of a rooftop concert emerged as a very interesting affair, with the exponent himself considering it his best baithaki for the novelty of the concert pattern. Budhaditya took up raga Yaman-Kalyanand demonstrated the sampurna jati of this purbangabadi raga with the desired expressive variety.

This is an evening raga of worship and he sustained that devotional feeling with due fidelity. The biIambit phase, composed by Budhaditya himself, was marked by a dedicative attitude to the melody of Kalyan thant, scrupulously observing the difference of Yaman-Kalyan. His use of two madhyams picturised the interesting variety of the raga with his accurate interpretation. Keeping an eye on the thematic message of Yaman-Kalyan, he stressed more on bistar anga than tankin in slow gat and produced an elaborate mode of expression in the use of every swar of the lower octave, with touches of dhyana (concentration), while the gradual proceeding with the tana varieties of drut expressed the restless yearning of a devotee to reach perfection, the attainment of which was vehemently felt in the unbelievable speed of tankiri phase and ulto thala, picturising the stylised form of the Imdadkhani gharana. Despite his extraordinary command over the sitar, Budhaditya did not indulge in exhibitionism.

Rather, his use of chut, sapat, trisaptak and tans were appropriately applied so as to reach the desired goal of fullness. What followed was his display of raga Misra Pilu, an artistic diversion. With its innate charm of romance involving all the swaras of Komol and Suddha, he unleashed a compelling effect in the auditorium. In the sensitive treatment of the melody of Kabi thant, two throbbing hearts spoke in a language of their own own.

Budhaditya passed through finely graded emotional moments and finally reached the crescendo with the subtle union of Komol and Suddha Gandharin the conclusive taan of drut gat. The combination was an astounding union of bazz and finger-work. Somen Nandy provided adequate support on tabla. “You are regularly performing throughout India and abroad but why not at Kolkata?” I asked him after the recital.

“Kolkata is a very loveable place and I would gladly perform here if they pay my scheduled charge,” Budhaditya replied with serious gravity.