Recorded at Darbar Festival 2014, on 20th September, at the Purcell Room of London's Southbank Centre.

Musicians:
- Pandit Vinayak Torvi (khayal)
- Ajay Joglekar (harmonium)
- Pandit Bharat Bhushan Goswami (sarangi)
- Kousic Sen (tabla)
- Priya Parkash & Sruti Suresan (tanpuras)

Music Pieces:
- Raag Ahir Bhairav, Thaat: Bhairav, Samay: early morning
- Raag: Jaunpuri, Thaat: Asavari, Samay: late morning
- Aliya Bilawal, Thaat: Bilawal, Samay: early morning
- Raag: Deshkar, Thaat: Bilawal, Samay: early morning
- Raag: Shudh Sarang, Thaat: Kalyan, Samay: late morning
- Mirabai Bhajan
- Bhajan in Raag Bhairavi

Pandit Vinayak Torvi presents six pieces in this UK debut concert.

Located in the north-western part of south-west India, Dharwad emanates the rich essence of a culturally fertile past. Pandit Vinayak Torvi comes from Ranebennur in the Dharwad belt – a territory that was home to some of the greatest Hindustani classical vocalists like Mallikarjun Mansur and Pandit Bhimsen Joshi.

Blending the Kirana, Gwalior and Agra styles, he brings to this recital the eternal magic of this region that is also often referred to as the ‘Dharwad gharana.’.

Accompanying him on the melodic part are Pandit Bharat Bhushan Goswami (sarangi) and Ajay Joglekar (harmonium). The rhythmic support has been given by Kousic Sen. Don’t miss the tanpuras on stage – gifted by Ustad Bahauddin Dagar, they are a special addition to the Darbar treasure trove. They are part of the ustad’s heirloom, handed down to his uncle Ustad Zia Fariduddin Dagar by his ancestors. Ustad Dagar’s passing them on to Darbar is a gesture we will hold with reverence, safeguard and value for posterity.

Pandit Torvi presents six pieces in this UK debut concert. He begins with an elaborate alap in Raag Ahir Bhairav followed by a vilambit khayal in Ektal. He concludes this piece with a faster composition set to Teental where he accelerates the tempo to ati-drut, delivering bolkari in interesting scansions and divisions over the 16-beat cycle.

He continues with a composition in Raag Jaunpuri set to madhyalay Jhoomra taal, a 14-beat cycle. He decorates the piece with taans, progressing gradually and unfurling the character of the raga bit by bit with quick-witted laykari. He concludes this piece with a faster tempo bandish in Teental.

Shifting quickly to a major raga Aliya Bilawal, he presents an alap and a composition in madhyalay Teentaal, vividly portraying the serene essence of this upper-tetrachord dominant melody. Harping on the upper octave, he veers to a madhyalay Jhoomra composition in Deshkar, a rarely sung morning raga. A drut Teental bandish in Shudh Sarang promptly follows this one, changing the mood from chirpy to one of romance.

Pandit Torvi rounds up his performance with a soulful rendition of ‘Man Maane Jap Taar,’ a Mirabai bhajan. Upon repeated requests of the audience, he encores with an upbeat Krishna bhajan in Bhairavi, ‘Khelata Hain Giridhari.’

While Joglekar and Pandit Goswami enhance the melodic part wholeheartedly, Sen showcases interesting dynamics in the motley combination of rhythmic cycles and tempos.