Vaadya vybhava
The Bangalore Gayana Samaja dedicated this year's "Vaadya Vybhava" to Lalgudi Jayaraman and M S Gopalakrishnan, veteran violinists, who passed away recently. The 'Naadasri' award was presented to Vikku Vinayakaram, senior ghata player and there were five concerts - flute, veena, nagaswara, violin solo and a percussion ensemble.
B Vijaya Gopal, who gave a flute recital on Thursday, started his music lessons at a tender age and learnt from a few teachers including K V Ramanujam and received a few awards like 'Flute Mali Award'. In the current concert steady pace and sonority of a few good raga and compositions paved the way for a cozy feeling. Mainly spacious alap of Ranjani was delightful. Kamavardhini was neat with some pleasing 'Sangathies.' Charukeshi is an evocative raga, which became popular in the post Trinity period, which was pleasing. Nagaswaravali was also a welcome inclusion. With some more stage experience he can bring balanced representation to raga alapana, nerval and swara prasthara, to make the concert a wholesome one. Mysore Srikanth, Jayachandra Rao and Vyasa Vittala accompanied with good understanding on violin, mridanga and khanjari, respectively.
Educative session
Veena Venkatagiriappa (1887-1952) was known as a prominent vainika of "Mysore Baani" and an able teacher too. "Venkatagiriappa Day" was celebrated by the Gayana Samaja on Friday, under the endowment sponsored by Prof V Amritha. Vidushi Rajalakshmi Tirunarayanan, senior veena player, spoke on the life and works of her guru. Manjula Surendra and Vani Yadunandan demonstrated a few select compositions of Venkatagiriappa, which suited the occasion. They opened the programme with a varna in Gambhira naata, which the composer used to call as "Vedanda gamana." "Srivara Ganapathe" in Hamsadwani attracted with well knit chitteswara. Bhuvanagandhari (Janya in Natabhairavi) also had "Ragamudre" and chitteswara. Venkatagiriappa has also coined a few new ragas. One of them Prabhupriya (Janya in Natabhairavi) for "Sri Raja Rajeswari" and Sharada Priya (Kharaharapriya Janya) for "Sharade" - which was in Tisra Nade and Chatusra triputa thala. The 'Sura Palana' was in Dharmavathi and concluded with a Naguma in Behag raga. It was simple but with some more details it will be much more impactful.
Compositions of Lalgudi
Musicologist Sujatha Vijayaraghavan and vocalist S P Ramh illustrated a few compositions of Lalgudi Jayaraman. After speaking on the lineage and 'Guru Parampara' they narrated how Lalgudi Jayaraman belongs to direct "Sishya Parampara" of Saint Tyagaraja. How and when they shifted to violin, invention of new ragas (Uthari) etc. To narrate Lalgudi as a successful accompaniment, they illustrated some songs and for Lalgudi's perfect 'Patttanthara' keerthanas like - Ganamurthe, Nadaloludai, Entha nee, etc were sung with good feeling. A few ragas as 'signature' song or ragas with Lalgudi stamp - were impressively presented.
Haridasa Sambhrama
"Haridasa Sambhrama" was celebrated by Nadajyothi Sri Tyagaraja Swamy Bhajana Sabha in collaboration with TTD Dasa Sahitya Project and the Malleswaram Aryavysya Sangha.
M S Sheela, led a group of young vocalists to render "Navarathna Malika" of Purandara Dasaru. They opened the programme with pillari geethe (starting from 'Lambodara'), customarily. Jaya Janakeekantha (in the raga Naata), Aadidano Ranga (Arabhi), Kallusakkare Kolliro (Kalyani), etc and concluded with "Indina Dinave Shubha Dinavu" (Surati). They sang in unison and in a simple way. They were accompanied by Sindhu Chetan on violin and B R Srinivas on mridanga.
Kannada Devaranamas
Earlier, Vani Sateesh, familiar vocalist, presented devaranamas of different Haridasas. Kelano Hari Thaalano (Purvi Kalyani - Purandara Dasaru), Ele mana murariyane of Vijayadasaru, Manava shodhisa beku (Shubha Pantuvarali) etc. Stressing the meaning of padas, she tried to highlight the lyrical beauty of the devaranamas. The alapana of Purvi Kalyani and Shubha Pantuvarali were brief, but evocative. With her good voice and without overdoing anything, it delighted the audience. Mysore Sateesh and A Renuka Prasad supported on violin and mridanga, respectively.
The Bangalore Gayana Samaja dedicated this year's "Vaadya Vybhava" to Lalgudi Jayaraman and M S Gopalakrishnan, veteran violinists, who passed away recently. The 'Naadasri' award was presented to Vikku Vinayakaram, senior ghata player and there were five concerts - flute, veena, nagaswara, violin solo and a percussion ensemble.
B Vijaya Gopal, who gave a flute recital on Thursday, started his music lessons at a tender age and learnt from a few teachers including K V Ramanujam and received a few awards like 'Flute Mali Award'. In the current concert steady pace and sonority of a few good raga and compositions paved the way for a cozy feeling. Mainly spacious alap of Ranjani was delightful. Kamavardhini was neat with some pleasing 'Sangathies.' Charukeshi is an evocative raga, which became popular in the post Trinity period, which was pleasing. Nagaswaravali was also a welcome inclusion. With some more stage experience he can bring balanced representation to raga alapana, nerval and swara prasthara, to make the concert a wholesome one. Mysore Srikanth, Jayachandra Rao and Vyasa Vittala accompanied with good understanding on violin, mridanga and khanjari, respectively.
Educative session
Veena Venkatagiriappa (1887-1952) was known as a prominent vainika of "Mysore Baani" and an able teacher too. "Venkatagiriappa Day" was celebrated by the Gayana Samaja on Friday, under the endowment sponsored by Prof V Amritha. Vidushi Rajalakshmi Tirunarayanan, senior veena player, spoke on the life and works of her guru. Manjula Surendra and Vani Yadunandan demonstrated a few select compositions of Venkatagiriappa, which suited the occasion. They opened the programme with a varna in Gambhira naata, which the composer used to call as "Vedanda gamana." "Srivara Ganapathe" in Hamsadwani attracted with well knit chitteswara. Bhuvanagandhari (Janya in Natabhairavi) also had "Ragamudre" and chitteswara. Venkatagiriappa has also coined a few new ragas. One of them Prabhupriya (Janya in Natabhairavi) for "Sri Raja Rajeswari" and Sharada Priya (Kharaharapriya Janya) for "Sharade" - which was in Tisra Nade and Chatusra triputa thala. The 'Sura Palana' was in Dharmavathi and concluded with a Naguma in Behag raga. It was simple but with some more details it will be much more impactful.
Compositions of Lalgudi
Musicologist Sujatha Vijayaraghavan and vocalist S P Ramh illustrated a few compositions of Lalgudi Jayaraman. After speaking on the lineage and 'Guru Parampara' they narrated how Lalgudi Jayaraman belongs to direct "Sishya Parampara" of Saint Tyagaraja. How and when they shifted to violin, invention of new ragas (Uthari) etc. To narrate Lalgudi as a successful accompaniment, they illustrated some songs and for Lalgudi's perfect 'Patttanthara' keerthanas like - Ganamurthe, Nadaloludai, Entha nee, etc were sung with good feeling. A few ragas as 'signature' song or ragas with Lalgudi stamp - were impressively presented.
Haridasa Sambhrama
"Haridasa Sambhrama" was celebrated by Nadajyothi Sri Tyagaraja Swamy Bhajana Sabha in collaboration with TTD Dasa Sahitya Project and the Malleswaram Aryavysya Sangha.
M S Sheela, led a group of young vocalists to render "Navarathna Malika" of Purandara Dasaru. They opened the programme with pillari geethe (starting from 'Lambodara'), customarily. Jaya Janakeekantha (in the raga Naata), Aadidano Ranga (Arabhi), Kallusakkare Kolliro (Kalyani), etc and concluded with "Indina Dinave Shubha Dinavu" (Surati). They sang in unison and in a simple way. They were accompanied by Sindhu Chetan on violin and B R Srinivas on mridanga.
Kannada Devaranamas
Earlier, Vani Sateesh, familiar vocalist, presented devaranamas of different Haridasas. Kelano Hari Thaalano (Purvi Kalyani - Purandara Dasaru), Ele mana murariyane of Vijayadasaru, Manava shodhisa beku (Shubha Pantuvarali) etc. Stressing the meaning of padas, she tried to highlight the lyrical beauty of the devaranamas. The alapana of Purvi Kalyani and Shubha Pantuvarali were brief, but evocative. With her good voice and without overdoing anything, it delighted the audience. Mysore Sateesh and A Renuka Prasad supported on violin and mridanga, respectively.