Vizianagaram-based veena artiste KAVLN Sastry’s melodic concert evoked good response at Kalabharati Visakhapatnam.
Born in a family with good musical background, his art was reflective of the Vizianagaram school of veena playing. Known for its great resonance, veena demands intense practice to carry its inherent melodic quotient in presentation and Sastry presented the pieces chosen on an enthusiastic note. His father late Kavirayani Jogarao had been a well-known vainika in the region and a streak of his style was evident in Sastry’s playing, to discerning audience.
He began the performance with Bhairavi ata tala varnam of Pachhimiriyam Adiappaiah and went on to take up Vathapi Ganapathi Bhajeham of Dikshitar in raga Hamsadhwani. He chose to decorate it with a good swara suit, setting the tempo of performance. After this, with a brief raga sketch came Kedaragoula, the kriti for this being Neelakantham Bhajeham of Muttuswamy Dikshitar. With deft handling of its key phrases, the raga essay carried its melodic appeal well. After Telisi Ramachintana of Thyagaraja in raga Purnaravichandrika, Sastry opted once again for a short raga essay of Kapi.
The soft shades of Kapi for Thyagaraja’s composition Neevalla Gunadoshamemi found good expression and fine swarakalpana added to its musical appeal. Soothing presentation of Seethamma Maayamma in raga Vasantha paved the way Bhavanutha of Thyagaraja in raga Mohana.
The mainstay of the concert was raga Sankarabharanam for Swara raga sudha. In an elaborate treatment, he dealt with salient phrases of the raga keeping its structural melodic appeal intact. Laced with swarakalpana and neraval, it mirrored his sturdy practice of the piece. The Pancharatna kriti Endaro Mahanubavulu in raga Sree and Okaparikokapari of Annamayya were other notables. He rounded off the concert with a Tillana in Kanada.
VV Ramana Murthy on mridangam and S Hanumantha Rao on ghatam lent good support. Visakha Music and Dance Academy hosted it.
