A musical event with three artistes from different age groups.

Sangeetha Ksheerasagaram celebrated its Seventh anniversary, last week. The three-day event was held at Thyagaraya Gana Sabha featuring three generation artistes, on different days. Ten-year-old Lakshmi Prachothan’s performance, surprised the audience.

The prodigy performed in the knowledgeable company of O. Rajasekhar on violin and A. Srinivasa Rao on mridangam.

Vocal recital

Twenty-year-old Kartikeya’s vocal recital on the second day was impressive. He performed with Peri Thyagaraju on violin and Burra Sriram on mridangam. The third day featured, Duddu Sitaramayya, a veteran veena player.

He is the principal of Government College of Music and Dance, Secunderabad. Sitaramayya adhered to the ancient system of playing veena, holding it vertically with its head in his lap.

He is the only artiste today who adopts this technique.

The festival opened after offering condolences to the late Chief Minister Y.S. Rajasekhara Reddy and dedicated Prachothan’s concert to his memory.

His mother, Devulapalli Sirisha, also a musician, initiated the boy into music and later placed him in the care of D. Seshachary of Hyderabad Brothers. Prachothan, has given a number of concerts all over India.

The boy displayed command over the ragas Simhendra Madhyamam (Pamarajana Paalini) and his main offering Sankarabharanam chosen for ragam-tanam-pallavi exercise. The opening Panchamatanga of Deekshitar in Malahari with alapana and swaram was appealing. Durbars (Endundi Vedalithivo) with raga sketch and swaras paved way for the first major melody Simhendramadhyamam. Pamarajana Paalini of Deekshitar was a pleasant experience. Sankarabharanam, the main essay, was a brilliant exposition by the artiste.

After a brief tanam, the pallavi coined as Nee Padamule Gatiyani Nammiti Rama Ramachandra in Roopaka talam was marked by a ragamalika swarakalpana comprising of Valaji, Revathi and Kapi.

Sai Kartikeya, a young engineer, began with a varnam in Vasantha Ragam Ninnu Kori. Kalala Nerchina in Deepakam of Thyagaraja, followed. Manavi Chekonavayya in Sarasangi of Patnam and Yennadu Joothuno in Kalavathi of Thyagaraja set the mood of the house well to receive his Panthuvarali, an impressive exercise.

After a couple of numbers, the young man took up Sankarabharanam as his main offering. Akshayalinga Vibho was his choice number in this, marked by a well-executed nereval and swarakalpana. Peri Thyagaraju’s violin support was in tune with the vocalist. He concluded with Venkatachala Nilayam in Sindhubhairavi and Lalgudi Jayaraman’s tillana. Duddu Sitaramayya, an adept veena player was accompanied by S. Aravind Ranganathan on mridangam and T.P. Balasubramanyam on ghatam. Exercising Saveri Varnam, Sarasuda, set the tone and mood. An invocation to Vinayaka Mahaganapathim in Nata won the audience’ admiration.

All eyes were set on his style of play keeping his veena in vertical position and gliding his hand up and down. Sobhillu Saptaswara in Jaganmohini and Adamodigalada in Charukesi were his subsequent numbers with raga and swara appeal.

Anandabhairavi essay for Shyama Sastry’s Mari Vere and Poorvikalyani for Gnanamosagarada with an expansive raga play followed by nereval and swarakalpana was quite appealing in the earlier part of the concert. After a brisk Navarasa Kannada number Ninu Vina Naamadendu, Kambhoji was taken up by Sitaramayya as his main offering. He evolved it well creating scope for display of his own virtuoso skills.

G.S.