Annual music conference
The Karnataka Ganakala Parishat conducted the annual music conference successfully, last week, under the able leadership of Vidwan R K Padmanabha. Music concerts (vocal, veena and flute) in the evenings and academic sessions in the mornings, attracted a large gathering, on all the days. In the "Vidwath Sadas," Dr Vageesh received the prestigious title, "Ganakalabhushana" and the title "Ganakalashree" was conferred on Pattabhirama Pandith, young talented vocalist.
In Karnatic music there is an old tradition of singing a Navagraha Kriti, on the relevant day of the concert and it will be usually one of the Navagraha Kritis of Muthuswamy Dikshitar. But for a welcome change Dr K Vageesh chose a Navagraha Kriti of Dr L Muthaiah Bhagavathar, "Rohineeyam Budham" in the raga Suruti.
It was followed by a self-composed composition in the raga Rasikaranjani. Connoisseurs also enjoyed two devotionals - the Bhadrachala Ramadas's popular devotional "Nee Naama Entharuchira" and the "Harichitasathya" of Purandara Dasa. For a detailed elaboration Vageesh chose raga Dharmavati, the 59th mela, which was known as Dhaumya and Dharmavati earlier. The raga unfolded with pleasant melodic characteristics and paved the way for the "Tharamugadura" of Veena Seshanna. "Ramachandra Bhavayami" was another evocative krithi.
Phrases were pleasing and melody cascading for "Upacharamu," a classic krithi of Saint Tyagaraja. Vageesh's vocal was traditional and a good beginning for the conference. He was well supported by three seasoned instrumentalists - C N Chandrashekhar on violin, C Cheluvaraj on Mridanga and G S Ramanujan on Ghata.
Pleasing flute
Curtains came down on Musician's 47th Conference on Sunday with a fine flute recital by T R Srinath. He is a senior flautist and a recipient of "Ganakalashree" title. He was accompanied by two senior musicians - S Seshagiri Rao on violin and A V Anand on mridanga and young khanjari Vidwan Guru Prasanna followed with good understanding.
Devamanohari is a well known "rakti" raga, which belongs to Kharaharapriya Varga. It was the high point of Srinath's concert which was tuneful, neat and carried the essence of the raga. Earlier, he opened the concert with the stately varna "Sarasijanabha' in the raga Kambodhi set to Atta thala. Swara for "Siddivinayakam" of Muthaiah Bhagavathar (Mohana Kalyani) was delightful.
"Sumasayaka" in Karnataka Kaapi, is quiet popular in dance also. Two lesser known compositions were rendered - "Sharanam Vijaya" in the raga Vijaya Saraswathi and with Chitteswara and "Vidhi Mukhambhuja" of Chandrashekhara Bharathi Swamijee of Sringeri in the Desh raga. He concluded with two devaranamas - Rama Mantrava Japiso and Venkatachala Nilayam. In total it was a matured and tuneful performance.
Music concert
The Smriti Nandan founded by Vidushi Lalita Ubhayaker and supported by philanthropists like Smt Tara Chandavarkar, with the object to scout and project budding Hindustani musical talents, they conduct "Devnandan Ubhayaker Yuva Sangeet Utsav" every year.
This year's festival opened with a "Mangal Vadya" - Shehnai, on Saturday. The artiste, Hassan Haider Khan, hails from a family of great Shehnai players.
He was initiated under his father Ustad Ali Ahmed Hussain Khan and continued with Pandith Arvind Parekh. He has performed in leading organisations - both national and internationally (USA, Canada, UK, France, etc) and has received several awards and honours, also.
Hamsadwani unfolded slowly in the Shehnai of Hassan Haider Khan, enriched by certain flourishes and patterns that were exclusively instrumental in nature. The raga in both vilambith and druth was developed with varied shades.
Each phrase sounded neat and lively, catching the attention of the listeners. Srivatsa Koulgi accompanied on Tabla.
Divine Dhrupad
Pelva Naik, who gave a Dhrupad recital, hails from an artiste's family and was trained by Ustad Zia Fariduddin Dagar and has been guided by Ustad Mohi Bahaduddin Dagar also. She is serving the music field through her performances, teaching and conducting workshops.
Rag Rageshri by Pelva Naik generated a serene atmosphere in the Canara Union Hall. A pleasant voice and a cultivated style lent a dignified visage to the music of Pelva who exemplifies the Dhrupad form. She started from the lower register, weaving leisurely patterns in a unhurried way.
In the next stage the movement began to pulsate, with lively embellishments. The bandish in Jhap Taal of ten beats, was also evocative. Pelva Naik was successful in bringing out the distinct character of the raga through Dhrupad, aesthetically. Sanjay Agle supported her on Pakhawaj.
The Karnataka Ganakala Parishat conducted the annual music conference successfully, last week, under the able leadership of Vidwan R K Padmanabha. Music concerts (vocal, veena and flute) in the evenings and academic sessions in the mornings, attracted a large gathering, on all the days. In the "Vidwath Sadas," Dr Vageesh received the prestigious title, "Ganakalabhushana" and the title "Ganakalashree" was conferred on Pattabhirama Pandith, young talented vocalist.
In Karnatic music there is an old tradition of singing a Navagraha Kriti, on the relevant day of the concert and it will be usually one of the Navagraha Kritis of Muthuswamy Dikshitar. But for a welcome change Dr K Vageesh chose a Navagraha Kriti of Dr L Muthaiah Bhagavathar, "Rohineeyam Budham" in the raga Suruti.
It was followed by a self-composed composition in the raga Rasikaranjani. Connoisseurs also enjoyed two devotionals - the Bhadrachala Ramadas's popular devotional "Nee Naama Entharuchira" and the "Harichitasathya" of Purandara Dasa. For a detailed elaboration Vageesh chose raga Dharmavati, the 59th mela, which was known as Dhaumya and Dharmavati earlier. The raga unfolded with pleasant melodic characteristics and paved the way for the "Tharamugadura" of Veena Seshanna. "Ramachandra Bhavayami" was another evocative krithi.
Phrases were pleasing and melody cascading for "Upacharamu," a classic krithi of Saint Tyagaraja. Vageesh's vocal was traditional and a good beginning for the conference. He was well supported by three seasoned instrumentalists - C N Chandrashekhar on violin, C Cheluvaraj on Mridanga and G S Ramanujan on Ghata.
Pleasing flute
Curtains came down on Musician's 47th Conference on Sunday with a fine flute recital by T R Srinath. He is a senior flautist and a recipient of "Ganakalashree" title. He was accompanied by two senior musicians - S Seshagiri Rao on violin and A V Anand on mridanga and young khanjari Vidwan Guru Prasanna followed with good understanding.
Devamanohari is a well known "rakti" raga, which belongs to Kharaharapriya Varga. It was the high point of Srinath's concert which was tuneful, neat and carried the essence of the raga. Earlier, he opened the concert with the stately varna "Sarasijanabha' in the raga Kambodhi set to Atta thala. Swara for "Siddivinayakam" of Muthaiah Bhagavathar (Mohana Kalyani) was delightful.
"Sumasayaka" in Karnataka Kaapi, is quiet popular in dance also. Two lesser known compositions were rendered - "Sharanam Vijaya" in the raga Vijaya Saraswathi and with Chitteswara and "Vidhi Mukhambhuja" of Chandrashekhara Bharathi Swamijee of Sringeri in the Desh raga. He concluded with two devaranamas - Rama Mantrava Japiso and Venkatachala Nilayam. In total it was a matured and tuneful performance.
Music concert
The Smriti Nandan founded by Vidushi Lalita Ubhayaker and supported by philanthropists like Smt Tara Chandavarkar, with the object to scout and project budding Hindustani musical talents, they conduct "Devnandan Ubhayaker Yuva Sangeet Utsav" every year.
This year's festival opened with a "Mangal Vadya" - Shehnai, on Saturday. The artiste, Hassan Haider Khan, hails from a family of great Shehnai players.
He was initiated under his father Ustad Ali Ahmed Hussain Khan and continued with Pandith Arvind Parekh. He has performed in leading organisations - both national and internationally (USA, Canada, UK, France, etc) and has received several awards and honours, also.
Hamsadwani unfolded slowly in the Shehnai of Hassan Haider Khan, enriched by certain flourishes and patterns that were exclusively instrumental in nature. The raga in both vilambith and druth was developed with varied shades.
Each phrase sounded neat and lively, catching the attention of the listeners. Srivatsa Koulgi accompanied on Tabla.
Divine Dhrupad
Pelva Naik, who gave a Dhrupad recital, hails from an artiste's family and was trained by Ustad Zia Fariduddin Dagar and has been guided by Ustad Mohi Bahaduddin Dagar also. She is serving the music field through her performances, teaching and conducting workshops.
Rag Rageshri by Pelva Naik generated a serene atmosphere in the Canara Union Hall. A pleasant voice and a cultivated style lent a dignified visage to the music of Pelva who exemplifies the Dhrupad form. She started from the lower register, weaving leisurely patterns in a unhurried way.
In the next stage the movement began to pulsate, with lively embellishments. The bandish in Jhap Taal of ten beats, was also evocative. Pelva Naik was successful in bringing out the distinct character of the raga through Dhrupad, aesthetically. Sanjay Agle supported her on Pakhawaj.