FRIDAY REVIEW

Showering rhythm

THE YOUNG and brilliant percussionists V. Krishna (khanjari, damadi, pakhavaj), Anur Ananthakrishna Sharma (khol, edakka, tabla etc), Arun Sukumaran (efffects, ghante, anklets), Sathyamurthy (dholak, base dholak, dholki), Harsha Samaga (nagari, chandais used in Badagutittu Yakshagana and Kathakkali, dollu, nagara), Lakshminarayana (dholki, duphli, dikki tarang), and Madhusudan (ghata singari, tamates, morsing) dazzled in their vibrant performance, Laya Vrishti, under the joint auspices of Percussive Arts Centre and Ananya. It was literally a shower of laya, what with the above youngsters creating spirited patterns on their different folk instruments. The highly talented flautist Praveen Godkhindi led the rhythm group with his melodious tunes (emanating from flutes of different sizes) a la lehara in Hindustani instrumental music.

The concert began with Mohan playing the cymbals. Each artiste rose to the occasion in building up the tempo, speed and momentum leading to a thunderous climax worked out in the form of a taut teermana. Anur Ananthakrishna Sharma's direction was admirable. It was noteworthy that though there were some changes in the original structures of some of the folk instruments, much care was taken to keep intact the intrinsic characteristics of each of the instrument.

The three-day Aradhanotsava was held under the joint auspices of Aradhana, TSK School of Music, and C.V. Nagaraj Memorial Trust at Adarsha auditorium, Malleswaram. The president of the conference Geetha Ramanand, a seasoned veena player, was conferred upon the title of Kalaradhana Sri. A souvenir was also brought out.

After the inaugural deliberations, Geetha Ramanand, accompanied by her disciple Gopal (on the second veena), C. Cheluvaraj (mridanga) and M.A.Krishnamurthy (ghata), impresed the rasikas with her discipline and mastery over the instrument. With her fine sensibility she gave life to what she was playing and cast a spell on the audience.

She began with a Behag varna followed by Hamsadhwani (for "Raghunayaka"). Varali is a demanding raga. But Geetha's delineation was competent. Thyagaraja's "Eti janma", "Neekela daya" in Kadanakutoohala raga was sans razzle-dazzle. Detailed expression of Kambhoji ("Evarimaata") with a tanamalika comprising Kanada, Hindola, Kapi and Saraswathi ragas with scholarly swaraprastara vouched for her industry and expertise.

M. SURYA PRASAD

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