The Drive East Festival has rapidly become the Indian music counterpart to the Charlie Parker Festival: New York’s most highly anticipated concert series in a rapidly growing demimonde. In recent years, opening night has been a feast of thrills and chills. This past evening, sitarist Hidayat Khan may have set the bar impossibly high for the rest of the week with his relentlessly haunting duo performance with tabla player Enayat Hossain. Then again, the rest of the schedule promises similarly transcendent moments.
In about an hour and a half onstage, Khan”s approach to a bracingly chromatic South Indian raga was nothing short of symphonic. What was most striking, intellectually, was how effortlessly and imaginatively he built a series of several thematic variations and then interpolated them into the piece. What was most emotionally riveting was how relentlessly sad the music was: Khan’s brow remained furrowed throughout the entire duration of his opening alap. If there was ever a raga to reflect this grim historical era, this was it.
Khan may have serious chops on the sitar, but he quickly made it clear that this wouldn’t be about searing solos: it was about poignancy, and longing for some kind of closure. He finally delivered that about three-quarters of the way through the concert, but not until then. The alap was spare, somber, bristling with unresolved phrases that tantalized but eluded any decisive landing. Khan’s virtuosity revealed itself the most in a series of wrist-twisting bent notes that he delivered with such force that it seemed he might be using an icy electronic effect like a chorus pedal.
Maybe whoever invented the chorus pedal once saw a sitar virtuoso doing the same thing to build that kind of ambience.
There was plenty of daunting interplay between sitar and tabla throughout the set, Khan challenging Hossain to match his increasingly thorny syncopation note for note: Hossain nailed every phrase. Other sitar virtuosos like to build dynamic contrasts and ride the waves up and down, but Khan was intent on watching the darkness. The central theme was a close approximation of the edgy Arabic hijaz mode, but without the microtones – unless you count the sometimes subtle, occasionally savage bent notes in his matter-of-fact, unrelentingly brooding phrases over Hossain’s sometimes galloping, sometimes stark four-on-the-floor beat
The two alluded to an Afro-Cuban clave for extra slinkiness about three-quarters of the way through, then hit the passing lane, only to detour to the shoulder of this musical road as Khan brought the plaintiveness of the central theme full circle. The Drive East Festival continues tomorrow night, August 6 at 6 PM at the Mezzanine Theatre at 502 W 53rd St with Bharatanatyam dancers Rasika Kumar, Sahasra Sambamoorthi and Nadhi Thekkek performing their new piece Unfiltered, inspired by the Metoo movement. There’s also a live score by spellbinding singer Roopa Mahadevan with violinists Sruti Sarathi and Arun Ramamurthy. Tickets are $30.