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Photo: C.V. Subrahmanyam

Talented trio Dwaram Mangathayaru with Dwaram Durga Prasada Rao and Narasinga Rao performing a concert

anniversary celebrations of Visakha Music Academy last week in Kalabharati, started with

amulti-media presentation of an encyclopaedic talk on Gitagovindam. . Pappu Venugopalarao from Chennai in his prelude elucidated how Gitagovindam stands as the first-of-its-kind in verse form in Sanskrit set in a pattern of traditional music. He further critiqued as to how Jayadeb, its composershowcased the poetic and musical talents on one hand and on the other, created a specific identity as Vaggeyakara. Displaying audio visual clippings of music and dance recitals and a few from feature films, Rao explained how the set up of music has changed now and lost its native fervour.

The function began with the conferring of the title ‘Sangeetha Kalaasagara’ on the renowned mridangam VidwanVankayala Narasimham, who has trained scores of youngsters to reach professional levels in playing mridangam, kanjira, ghatam and morsing.

Presently, he is the principal of the music wing of Gudilova Residential School near Visakhapatnam. The programme was followed by a euphonic exposition of Carnatic vocal replete with a scholarly expression of Manodharma by Pantula Rama.

She was accompanied by her husband, AIR staffer M. Srinivasa Narasimhamurty on violin and Kotipalli Ramesh of Tirupati on mridangam.

Rendering of the rarely heard composition Manasa Mana Saamardhyamemi of Thyagaraja (Apoorva ragam Vardhani) with alapana; expansive expatiation of Prakkalanilabadi

(Kharaharapriya) and erudite ragam tanam and pallavi in Jhanjhuti, were the highlights. A violin recital by Dwaram Mangathayaru, daughter disciple of Padma Sri late Venkataswamy Naidu on the penultimate evening was nostalgic. The recital had her cousins Dwaram Durgaprasada Rao and Dwaram Satyanarayana on violin, Sangeetha Kalaasagara Vankayala Narasimham on mridangam, S. Hanumantha Rao on ghatam and Mandapaka Ravi on kanjira. Elaboration of Teliyaleru Rama (Dhenuka), Raghuvamsa (Kadhanakutuhalam) and especially the ragam tanam pallavi in Kapi with the swaram pliably getting shifted into

Mohana, Behag, Hindolam, Neelambari and Darbari Kannada reflected enough glimpses of the lithesome technique of her father-Guru both in handling the violin and also the exposition of the Carnatic tradition.

The Thani liltingly was a scholarly exercise. Mangathaayaru, who concluded her recital with the traditional lullaby Jo Atchutaananda left an impression of being totally possessed with the spirit of her father-guru.

Starting with the Bhairavi Atathalavarnam, the flute maestro S. Shashank from Chennai cast an enthralling spell till the end.

He went on profoundly playing Baagayanayya (Chandrajyoti) with enchanting alapana, Annapurne (Saama), Janani Ninuvina (Reethigoula) with alapana and swaram and finally ragam tanam in Kalyani with a pallavi set in Khandatriputa concluded with swaram in Mohana, Abheri, Hindolam, Behag, Sriranjani and Brindavani.

The pristinely pure and characteristic ragabhava that got surfaced in his excellently adapted enharmonic effort, left an impression of being a revelation of Divinity. B.G. Ganesh Prasad on violin, Parupalli Phalgun on mridangam and the veteran Vaicom

Gopalakrishnan on ghatam, all from Chennai, not only lent invigorating support but also came out with commensurable responses in their turns.

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