An evocative evening unfolded under the spell of Ashwini Bhide Deshpande, whose music carried the audience through a rich tapestry of ragas, emotions, and poetic imagery. Known for her intellectual depth and emotive clarity, she crafted a concert that was both meditative and exhilarating.

A Contemplative Opening

The recital began with Raga Madhuwanti, where the vilambit composition “Saanjh bhai din dooba – aaja hoon na aaye pritam pyaare” in Teentaal unfolded with serene विस्तार (expansion). The gradual deepening of the raga captured the quiet longing of twilight. This was followed by Raga Dharmavati, where “Sohe latak chanda” in Matta Taal added rhythmic intrigue, and the lively “Bal Ganapati naache” in Teentaal brought a joyful, almost playful energy to the stage.

A Celebration of Spring

Transitioning seamlessly, she presented Basanti-Kedar, evoking the vibrancy of spring. The traditional “Atar sugandh” in Rupak carried a fragrant, lyrical quality, while the drut compositions—rooted in the legacy of Mogubai Kurdikar—sparkled with rhythmic vitality. “Khelan aai naveli naar, ritu Basant ko dhoom machi hai” captured the exuberance of the season with striking clarity and गति (pace).

Folk Echoes and Intimate Expression

The mood softened with a Pahadi-Dadra composed by Smt. Anita Sen. The piece “Mori atariya pe kaga bole” painted a delicate portrait of longing and संकेत (omens), enriched by imagery of the koel and the gentle purvaiya breeze. The familiar textures of folk idiom resonated deeply with the audience.

Devotion and Surrender

A Meera bhajan, “Araj suno dayal mhari arji” (composed by Shobha Gurtu), brought a deeply devotional dimension. Here, Ashwini-ji’s voice seemed to transcend technique, channeling pure bhakti and surrender.

A Fitting Finale

The concert concluded with Bhairavi, beginning with a nuanced bandish by Chaitanya Kunte set in an unusual 9½-beat cycle—“Kahe rokat Shyam dagariya.” The rhythmic sophistication was matched by emotional depth. The concluding Tarana in Bhairavi provided a brilliant, energetic finish, leaving the audience both fulfilled and uplifted.

This concert was not merely a sequence of ragas—it was a thoughtfully curated journey through time, tradition, creativity and emotion. With her impeccable command over raga architecture and lyrical expression, Ashwini Bhide Deshpande once again demonstrated why she remains one of the most revered voices in Hindustani classical music today.

-Shubhra Sinha