The NCPA presented a special programme in anticipation of the Mahashivratri festival. It was meant to be a theme related concert focusing on the myth of Shiv and his relation with the world of music. Poona-based classical singer Dr Veena Sahasrabuddhe who was in limelight during the 1990s was chosen to present the concert.
Shiv is one of the central figures dominating the mythology surrounding Indian music. An anecdote in Shivmatpuran talks about the singing prowess of Shiva.
Lord Vishnu once wanted to hold a concert and hear good music and the only was choice was Shiva who took Ganesh along to accompany him on the mridang (percussion). Shiva sang so well that the audience literally began to melt. It was Lord Bramha who came to the rescue with his kamandalu container and collected the liquid which later came to be known as the Ganga. There is a raga, 'Shankara', which is one of the most popular ragas sung in the late evening. All the songs are not necessarily in praise of Lord Shiva. The late Kumar Gandharva, one of the most creative singers of the 20th century found the existing lot of compositions inadequate and felt like making his own. ‘Sirpe Dhari Gange Kamar Mrugchhala’ which depicts Shiva as the one who holds the river Ganga in his hair and wears the skin of the dear became a hit soon after Kumar Gandharva began to sing it. The EP record which HMV brought out in the early sixties was also an instant hit.
Even in the context of musicology or grammar 'Shiva' has an important role. There are various Mats or opinions as far as the classification of ragas is concerned.
Prominent among them are Hanuman Mat, Shiva Mata and Naga Mata. There is a raga by the name 'Shivmat Bhairav' which is a combination of 'Bhairav' and 'Todi'.
The most significant legend about Shiva relates to the invention of the rudra veena which is considered to be our most ancient stringed musical instrument. It is said that Shiva conceived of this musical instrument while appreciating the contours of the curvaceous figure or body of his consort, Parvati, who was lying fast asleep on her side.
Sahasrabuddhe selected morning ragas like ‘Natbhairav’ and ‘Bairagi’ which was a surprise. There are ample compositions in evening ragas depicting Shiva. Her choice of the raga ‘Shankara’ was right and was not unexpected. There were flashes of her old brilliance when she sang ‘Shankara’. ‘Shankar Bhandar Bole’ set to ek taal had a lilt as well as punch. She depended a lot on the vocal support extended by her pupils Surashree Joshi and Janhavi Phansalkar. She was accompanied on the tabla by Vishwanath Shirodkar and on the harmonium by Seema Shirodkar.