The Academy of Music Chowdiah Awards and Sri K.K. Murthy Memorial Music Festival 2013 organised by The Academy of Music, Bangalore, featured a vocal recital by M.S. Sheela, who was also one of the awardees this year. She was accompanied by Charulatha Ramanujam (violin), Anoor Ananthakrishna Sharma (mridanga) and G. Guruprasanna (kanjira).
A melodious rendition of Mysore Vasudevacharya’s varna in Nalinakanthi raga and adi thala, was followed by a sketch of Nagaswaravali and “Sri Shankara Guruvaram” in rupaka tala, embellished with kalpana swaras. Muthaiah Bhagavathar’s ‘Amba Vani Nannu’ in Keeravani raga and adi thala was supplemented with a beautiful neraval at ‘Vara Veena Pani’, and the ensuing kalpana swaras in the second speed were replete with unobtrusive melodic and rhythmic patterns.
The unique structure and lilting allure of Kannada raga was exemplified next in an alapana that blended spontaneity with clarity of articulation. ‘Sri Mathrubhutham’, the Muthuswami Deekshithar krithi in mishra chapu thala was notable for the exemplary enunciation of the lyrics, highlighting especially the compelling appeal of the madhyamakala sahithya. Veena Venkatagiriappa’s enchanting composition ‘Sharade Shubhrahare’ in Rathipathipriya was the evocative prelude to a superb exposition of Shankarabharanam that illumined the grandeur and classical contours of the raga. While due emphasis was laid on pivotal notes such as the gandhara, madhyama and panchama, the elongated pauses at the thara sthayi shadja and gandhara drew attention to the sheer power, richness and range of the artiste’s voice. Thyagaraja’s ‘Eduta Nilichithe’ in adi thala was adorned with a vibrant neraval and kalpana swaras at ‘Nuduti Vrata’’, and underscored by excellent support from the accomplished accompanists.
Vani Sateesh, accompanied by Mysore Sateesh (violin), Arjun Kumar (mridanga), and S. Srishyla (ghata), presented a vocal concert at the same venue the next day.
The performance began with Thyagaraja’s ‘Ninne Bhajana’ in Natta raga and adi thala, to which were appended several rounds of fluent kalpana swaras. Sarasangi was taken up for a mellow and imaginative alapana that traversed the three octaves effortlessly. ‘Neekela Dayaradu’ in khanda chapu thala was ornamented with a finely crafted neraval and kalpana swaras that testified to copious powers of improvisation and technical expertise. Thyagaraja’s ‘Nenarunchinaru’ in Malavi raga and adi thala was presented in a tremendous tempo, without however, sacrificing precision and lucidity.
The main raga of the concert, Hemavathi was elaborated in some detail and included abundant sancharas around the panchama and dhaivatha. The thara sthayi rishabha was also emphasised with multiple phrases around and above it, interspersed with brigas, and consonant and symmetrical usages revealing the flexibility and timbre of the voice. The Deekshithar composition ‘Sri Kanthimathim’ in adi thala was sung at a slightly faster than usual pace. Kalpana swaras in two speeds at ‘Shuka Shounakaadi’ ended in diminishing thala cycles landing at the dhaivatha, and were followed by a compact thani avarthana.
The concluding items of the concert were Purandaradasa’s ‘Tharakka Bindige’ in Thilang and ‘Jagadoddharana’ in Kapi.
The style and intent of the lead artist were mirrored effectively in the violin accompaniment, while percussion support throughout was outstanding.
