Homage to H R K 
H R Keshava Murthy (1919-2006), was an able teacher, experienced choreographer and a dedicated organiser. On the occasion of his first death anniversary, Keshava Nrithya Shala had arranged a special programme called “Keshavaya Thubhyam Namaha”, on Sunday evening. Rich tributes were paid to H R K by many of his associates and artistes.

Sishya, Prasishyas of Keshavamurthy performed few dance items and paid tributes to their Guru. Ajay Viswanath and Kusuma Ranjitha Guptha of Nupura chose one composition each, in their Bharathanatyam recital. Ajoy’s selection was Surya Murthe of Dikshitar, which is not a familiar piece in the dance repertoire. His portrayal for the Sourashtra Keerthane was testifying to hard work on the salient elements of the dance.

Kusuma Ranjitha’s Jathis matched well with chiselled glances, sustaining a balanced portrayal of Virahoth Khanditha Nayike in the Astapadi. Ishwarya Nityananda’s (Venkateshwara Natyamandira) restrained expression came to fore in the Ardha Nareeswaram and the Yamanelli Kaannanendu is a popular Devaranama.

 Anil and Lakshmi Shiva Kumar revealed a good grounding in the idiom, forcefully projected in the Daru of Muthaiah Bhagawathar. Well known krithi Bhoshambo by Ranjitha and Nagesh, was lively. Later, students of Keshava Nrithya Shala presented a dance drama called Sri Channakeshava.

Melodious vocal
The Bangalore Gayana Samaja and the Swaramurthy V.N. Rao Memorial Trust jointly celebrated the “Veeneya Bedagu-2007” with both vocal and instrumental music concerts on Saturday and Sunday.

Senor vocalist Padmabhushana T V Shankara Narayanan gave the inaugural concert of the festival on Saturday. His chiselled style surfaced in the very first composition Sri Mahagana Pathim Bhajesham of the Maharaja Jayachamarajendra Wodeyar. Swara for Subramanyena added lilt to his singing, while the Devaranama (Baraiah Venkataramana) was equally touching.

Anandabhairavi was exfoliated inspiringly for Raa Ninunerenammithi (Veena Seshanna). Kalyani was rendered for Vasudevayani lending a nostalgic aura to the majestic melody. His experience and maturity was again revealed in Kharaharapriya with attractive phraseology, vouching for depth and fertile imagination with equal fervour an exciting rhythmic dialogue between Srimushnam Raja Rao (mridangam) and Ullur Giridhar Udupa - was highly enjoyable.

Sarasa Mukhi (Gowdamallar) is a old timers favourite Dr Mysore Manjunath gave competent support on violin. The Post “tani” compositions – Anathan Palu, Rama Rama Eniro, Tillana (Jinjoti) – were also rendered melodiously.

Instrumental trio
On Sunday morning,  H.K. Venkataram (violin), G  Ravikiran (flute) and A Ashwin (veena)  gave an instrumental trio.

Enduku Peddala, the celebrated Krithy of Saint Thyagaraja, was the piece de resistance of the concert. Shankarabharana was marked for its masterly Alaphana, easily rising the melodic report to a crescendo. The thani of double mridangam (H S Sudhindra and K U Jayachandra Rao) - was quiet interesting. Earlier, familiar Shahana varnam, gave the Trio, an excellent start. After the Pranamamyam, Sreepathe in Ganamurtheraga, was a good selection.

  Precise rhythm
Indumathy Ganesh, with her students (Indian American), presented an impressive Bharatanatyam recital at Purandhara Bhavana for Indiranagar Sangeet Sabha last Saturday.  Indumathy is a student of Chitra Vishveshwaran and an accomplished dancer, a teacher and runs Nrithyollasa Dance Academy in San Francisco (USA).

The recital began with a Pushpanjali in raga charukeshi by her students. They moved with surety and covered the stage confidently.

The varnam that followed next was a solo performance by Indumathy. This was in the raga Shanmukhapriya, a Lalgudi Jayaraman's composition 'Devarmuni padam 'describing the greatness and the glory of the Lord Venkateshwara. 

 Next was again a group dance by her students for a Purandharadasa kriti in Ragamalika.

This was an interesting piece covering the Goddess Lakshmi and Parvati engaged in an argument as to whose husband is superior. The students executed the different rhythmical structures precisely.