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V. Nagaraj
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REVIEW Vasundhara Performing Arts Centre organised a seven-day national festival of music and dance

Imaginative Good balance
Imaginative Good balance

O n the occasion of the 25 {+t} {+h} year of Vasundhara Performing Arts Centre, a seven-day national level music and dance festival was organised at the Jaganmohana Palace, Mysore.

This occasion also marked features like rangapravesha of three young entrants, Mohaka Marissa Rajashekhara, Kalyani S. Kumar and Chinmaya M. Hegde.

Talavadya kutcheri conducted by S.V. Giridhar, and vocal concert by S. Shankar were some of the full-fledged concerts of high order. The Centre honoured these reputed artistes in recognition of their commitment and contribution in conserving and preserving the tradition.

Giridhar (mridanga), a percussionist of vast experience in related diversified fields, presented a talavadya kutcheri.

In his methodology, one could distinctly find an ideal balance struck aesthetically and prudently between both the aspects of rhythm and melody, not omitting the most important factor, bhava.

In furtherance of the above end, he followed the conventional method of presenting the classical music in which he imaginatively incorporated all the intricacies of rhythm phrases and compositions.

Subrahmanya Mohite (khanjira), Jnana Prakash (morsing), Kartik Vaidhatri (rhythm pad), N. Amrith (konakkol and dholak) and Betta Venkatesh (ghata) contributed their expertise in materialising Giridhar's vision.

“Evaribodha” (varna - Abhogi - Patnam Subrahmanya Iyer), “Gajananayutham” (Vegavahini-Dikshithar) and “Shrimannarayana” (Bhouli - Annamacharya) admirably served to add sentimental elements. Ramu Natarajan on the veena played the compositions, which included alapanas and kalpanaswaras. There was ample scope for the percussionists to come out with their ideas in all the improvisations , which reached a climax in tani avarthana.

***S. Shankar's concert carried the audience to another world of music and bhakthi. The artiste of high learning started his concert with a varna “Chalamelajesevayya” (Rangasami Natuvanar). Clarity diction and terseness in progressions reined the style of this singer who adhered to classicism couched in warm folds of tradition.

When the singer presented Vasudevachar's “Bhajare Manasa”, the mind transcended unawares into a state of devotional ecstasy; he materialised the gravity of the import nested in the lyrical sections, for instance in “Bhakthi Muktipradam Vasudevam” (pallavi, describing the Lord's munificence) and “Sujana Mandaram Sundarakaram” (anupallavi, portraying the mighty Lord' s unparalleled serene beauty).

A non-co-operative voice did not hinder the singer from creaming off the essence of Lathangi; even in quick sweeps over the octaves, the expressions remained precisely indicative and admirably impeccable. Alapana introduced the listeners to “Marivere Dikkevaru Ramayya” (Patnam Subrahmanya Iyer) which later featured a neraval at “Dharalona Ni Saati” and scholarly kalpanaswaras.

As “Rama Ni Samanamevaru” (Karaharapriya-Thyagaraja) was the focus, he embellished the composition with a neraval (charana-“Paluku Palukulathene”) and kalpanaswaras. Young Aditi Krishnaprasad (violin) confidently coped with senior artiste's competence and expertise; and the seasoned percussionists, H.L. Shivashankaraswamy (mridanga) and M.R. Manjunath (ghata) enhanced the richness of the concert.

V. Nagaraj

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