She explained the concept of gharanas and two main classifications of music -- Khayal and Dhrupad. ``I feel at home here'' were the first words of the ex-professor of MMK College. After a detailed explanation that was more of a story-telling, she proceeded to perform the popular numbers she had selected -- Dheere Se Jaana Bagiyan Mein, a popular folk/film song in Raag Khamaj and Mohe Panghat Pe Nandlal in Raag Pancham Se Gaara. ``I would like you to identify with the music and then appreciate,'' she told the listeners.

In the second session, tablaexponent Pandit Suresh Talwalkar held the listeners spellbound with his performance, which was interspersed with narration of the history of tabla. Accompanied by Pune-based Vijay Ghate, he demonstrated exactly why other percussion instruments pale in comparison to the tabla.

No one really cared that lunch time was passing by, so gripped was the audience, slapping the tables along with the taal of the tablas. The post-lunch session had a dialogue with Pandit Shiv Kumar Sharma, who explained one of the oldest instruments of all time: the santoor. ``Travel the world,'' he said, in his trademark soft drawl, ``and you'll find the santoor everywhere, in different forms with different names.''

He told an enraptured audience how his father had insisted he play the santoor while he was working on the tabla and vocal. ``There is something known as the guru-shishya parampara, the only way music has travelled down centuries, for it is a form that can neither be recorded nor taught. My father and guru Pandit UmaduttSharma said I had to learn the santoor and I did. There can be no argument with your guru,'' he said.

In the midst of his session, was interrupted by Pandit Chaurasia, who had everyone in splits with his wit. ``I also have to perform, Shiv,'' he said from across the hall. The most interesting part of the evening then followed, with three maestros -- Pandit Talwalkar, Shiv Kumar and Chaurasia -- discussing the merits of lay, sur and taal on every saaz. Pandit Chaurasia explained how his simple flute -- ``a dry piece of bamboo'' -- was immortalised by Lord Krishna and called upon the audience to ask him questions. He politely refused to speak in English, demanded queries from the girls, and mimicked the yuppie student to everyone's delight. Since his was the last of the session, he was bombarded with requests for more; he obliged after obtaining special permission from the principal of the college.