Sarod maestro feted



DEXTEROUS RECITALS Ustad Amjad Ali Khan.  

Presentation of `National Eminence Award' comprising a cash award of Rs. 1 lakh, swarnakamalam (lotus flower replica made of gold), shawl, new clothes and conferment of the title `Nada Vidya Bharathi' along with a citation to the Padma Vibhushan awardee, sarod maestro Amjad Ali Khan marked the inaugural of the five-day classical music and dance organised by the prestigious Visakha Music and Dance Academy.

At a glittering function held in the Kalabharathi auditorium with the VMDA Trust and Academy's president, C.S.N. Raju in the chair, chief guest Sadguru K. Sivananda Murthy conferred the title on the ustad and presented the swarnakamalam.

Director of Centre for Policy Studies, A. Prasanna Kumar, presenting the citation, eloquently introduced the artiste. Another guest of honour, Rajya Sabha Member and TTD Board Chairman, T. Subbarami Reddy, honoured him with new clothes. CSN Raju and the treasurer of the VMDA Trust V. Sitaramaiah handed over the cheque for Rs. 1 lakh. Trust founder member, D.V. Subba Rao, (former Mayor of VMC and Chairman, Bar Council of India) presented the shawl and garlanded him.

M.S. Sheela.

M.S. Sheela.  

The repertoire of the recital on Sarod later by the ustad, which lasted for about just 90 minutes had as many as four compositions set in ragas Shamgouri, Durga, Kamaj and Keervani besides Bengali folk Bhatiali and Ravindra Sangeet. The item in Keervani adorned with very brief but beautiful alap, jod and jhal concluded on a scintillating note with layakari on tabla by Rashid Mustafa (Delhi) and the local Dhanwada Dharma Rao on mridangam seemed to be the piece-d-occasion.

The haunting melody that emanated out of the indomitably mellow touch and dexterity in handling the instrument by the maestro filled the air.

The soulful recital by M.S. Sheela of Bangalore with the excellent support on violin by H.N. Bhaskar on violin from Chennai, A. Ananth Krishna Sarma on mridangam and M.A. Krishna Murrthy on ghatam, both from Bangalore, turned out to be a wholesome feast of music both in terms of quality and quantity . Fully warming up rendering of the Kambhoji Atataala Varnam of Swathi Tirunal in the two kalas followed by Swaminathaparipalaya of Dixitar (Nata) concluded with a crafty swarakalpana; she seemed to be all set for going into a devout spell. From then onwards, her import seemed to be deep meditation on each and every syllable (both the lyrical and musical) she rendered. No wonder, her brief but ardent elaboration of Meenalochani Amba of Harikesanallur Bhagavatar (Todi) and Dhanyudevaro Daasaradhe of Patnam Subrahmanya Ayyar (Malayamaarutham) interspersed with the rendering of Sri Rama Paadama of Tyagaraja (Amrithavauhini), a composition of Purandhara Dasa in Aarabhi and Rama Ninne Namminenu of Tyagaraja (Husseni) surfaced even the subtle nuances of pious emotions and aesthetic expressions of the raga bhava embedded in the compositions. She transported the mood deep into the realms of ecstatic devotion with her expansive expatiation of Pankajalochana of Swathi Tirunal (Kalyani), which, concluded on an equally grand note with the scintillating thani executed by Sarma and Murty. Rendering of Muddu gaare Yasoda of Annammayya and a thillana of the mridangist Murty in Sumanasaranjani constituted the grand finale.

Perala Balamurali Krishna went ecstatic proposing of vote of thanks in Hindi, Telugu and English on the first day and substituting Kannada for Hindi on the second day.