It has become a difficult task, for violinists to get a solo programme these days. And it is no different for the talented Oruganti Rajasekhar. Hence, Saptawara Samskrutika Samstha, striving hard to discover young talent and offering them platform, takes credit for exposing this young man's brilliance to an audience at Thayagaraya Gana Sabha. Rajasekhar proved a meticulous player knowing well the art of playing on the string instrument with aplomb and crispness. This 25-year-old young man is already an artiste of All India Radio and has a two year central scholarship' and that of ‘Guru Sishya Parampara' of Tanjavur. He was originally trained by J. Srinivasamurthy of Warangal, which is also his hometown. He is a diploma holder in the art. He is now sharpening his skills further under the renowned violinist Akella Mallikarjuna Sarma, an adept at tala system too. He hails from a musical family; his father Oruganti Somanatham was a vocalist himself, who initiated him into Carnatic music.
Rajasekhar was in the company of Ch. Ramakrishna on mridangam, Mehar Sagar on ghatam, Srikanth on kanjira and Raghuram on morsing. He opened his concert with Kalyani Ata tala varnam Vanajakshi of Pallavi Gopala Iyer and did it in two speeds, warming himself up. He then played Sri Mahaganapathe in Nata of Mayuram Viswanatha Iyer. Sankari Sankuru in Saveri- tisragati of Shyama Sastry followed. His swarakalpana gave fore taste of his creative skills. Sarasasamadana in Kapi Narayani of Thyagaraja, a brisk number and an instrumental delight was well played. Gjanamosagarada - Poorvikalyani in Roopaka talam was preceded by fine raga essay, a first effort in raga presentation.
The nereval was interesting. The swarakalpana was in variegated ‘gati' structure. Mariveregati of Syama Sastry in Anandabhairavi also was opened with brief raga essay.
The main number of the concert was Upacharamulu in Bhairavi in Adi- Chowka kala kriti of Thyagaraja. The essay was brilliant for the forays into the raga move that had also good responses from same violin but in different tone as if another violinist was supportive. The kriti was set in vocalist mode for the erudite audience to follow, with a bit of expressionist touch.
The nereval carried the same mood and was quite brisk towards the end revealing his virtuosi skills. The swarakalpana that followed had all the traditional grammar of muktayis with reduction pattern. The tani avartanam led by very young mridangam artiste Ramakrishna was lively.
Rajasekhar concluded his show with Lalgudi tillana in Sindhu Bhairavi set to Adi talam.
He was felicitated at the end of this lively programme.
