The scheduling of the assorted programmes, as part of the celebration of the International Music Day, presented at Ravindra Bharati on Monday, appeared to have gone awry. The AP Cultural Council and the Department of Culture set the programme in such a manner that the Chennai based mridangam vidwan Karaikudi Mani accompanied by five outstanding soloists performed at the end of the schedule only to play to a near empty theatre. Another group led by mridangam artiste Yella Venkateswara Rao was given an early slot and they took up maximum chunk of time. However, the sprinkling of audience left in the end thoroughly enjoyed the show by Karaikudi Mani and party. Yella employed western instruments like drums, electronic pads, a dappu , a guitar and so on into his 13-member musical ensemble. Yella gave a taste of the music of other nations, including that of Michael Jackson, Hebrew, Greek, Chinese, Rock ‘n' Roll, Jazz rock fusion and European. What the Karaikudi Mani's troupe presented was quite palatable, soothing, thematic and melodious, under the title of Shanmukha as the six artistes were likened to the six faces of Shanmuga. U.B. Raju on mandolin, B.V. Bala Sai on flute, B. Raghavendra Rao on violin, Suresh on ghatam, Madhusudhan on tabla and they were accompanied on an African vertical drum called Jembai by Mani. Unlike Yella's accompanists who sat idle for most part of the time, the entire group in Mani's ensemble was active throughout. The first composition this Shanmukha group presented was Highway , composed by Aleister Spence, an Australian, collaborating with Karaikudi Mani. This was based on Harikambhoji. Then followed Harikesanallur Muthiah Bhagavatar's compostion Raga Raja Rajita in rare raga Niroshta that sounded very peculiar but soulful.
The piece called Vasantha Pravaham -- burst of spring. It is said that the same piece was adapted as Into the Fire , in the form of Jazz, now popular all over the world.
There was no overlapping and the music was a delectable amalgamation. Karaikudi Mani's own composition in Bahudhari and Ranjani mix, and first released by Shrutilaya was a delectable number. This was followed by Tani Avartanam in Tisranadai, following reduction technique. The wizardry of the percussion artistes especially on the mridangam and ghatam carried the ‘never heard' style of presentation sans any repetitions of avruthams. Every bit was refreshing, packed with novel phrases. Then there was the play of Dandamu Pettenu of Thyagaraja in raga Balahamsa. They concluded the show with the musical chant of Raghupati Raghava Rajaram .
The programme began with Nookala Chinna Satyanarayana's vocal in the company of Suryadeepti on violin Jayabhasker on mridangam. It was more mandatory exercise for the vocalist who only rendered two compositions - Undedi Ramudokadu in Harikambhiji and Samaja Varagamana in Hindolam. However, he rendered both the ragas vividly and presented elaborate swaraprasthara in both.
The dances presented were of unusual nature. Vaishnavie and Sarvepalli Madhavimala represented two styles Bharatanatyam and Kuchipudi respectively. While mudras that each of these dancers presented naturally were the same, the jati pattern varied. So was the case in holding hastas. Kanjadalayatakshi of Deekshitar in Kamalamanohari was chosen for this jugalbandi in these two styles.
The fusion part of dance presented later was based on the classical format of Bharatanatyam displaying adaptability. At the same time the appeal of its modernity was intact. These were set to music by Karaikudi Mani.
There were eight numbers written on different deities and languages. In the end part of this dance schedule, Rajeswari Sainath and disciples appeared on the stage and presented another piece of choreographic excellence titled Viswa Santhi . It was her fusion. Rajeswari simply enthralled the audience with this sensible and apt number.
