<p>Tribute to music<br /><br />The ESSAE Music foundation had organised music concerts – a veena and a vocal - by young artistes of Bangalore.</p>.<p> First Ashwin Anand opened his Veena recital with the Kambodhi swara jathi. It has charana and is practised on a daily basis by artistes of Mysore School. The Karnataka Kaapi Swara Jathi is known for its very difficult sangathies, set to khanda atha thala and ‘Ateetha Edupu’! ‘Neerajakshi’, the Saveri varna in jhampe thala is shining with datu swaras. The keertane ‘Inthashodha’ is one of the best compositions in the raga Rishabhapriya. He concluded his veena recital with the legendary jinjoti thillana. It was a classical treat sans gimmicks.<br /><br />Impactful rendering<br /><br />S Ramani and K S Giridhar, disciples of S Shankar, senior musician, opened their vocal with the Bhairavi swarajathi. ‘Mayamelara’, the Natakuranji varna in Khanda Triputa, was full of ‘Ragabhava’. ‘Rama Ninnu’, the Anandabhairavi keertana, was small in size but was rendered with good impact. ‘Nadiridiri Dheem’ – the Thodi thillana is a less-known composition and concluded with ‘Shiriye’ in jinjoti. These young artistes presented compositions of Veena Seshanna impactfully. M P Aditya on violin and B R Srinivas on Mridanga supported them.<br /><br />Pleasing vocal<br /><br />The Bangalore Ladies’ Association had organised music and dance programmes on Saturday evening in connection with its Golden Jubilee celebrations.<br /><br />Triveni Saralaya and Kavitha Saralaya, popularly known as ‘Saralaya Sisters’, who gave a vocal duet, were accompanied on the violin by M S Govindaswamy, on mridanga by V S Rajagopal and on ghata by M A Krishnamurthy. Their opening piece itself had the right tempo and the ‘Akhilandeswari’, the popular kruthi on Devi, was also pleasing. Their treatment had a touch of class and the ‘Rama Rama Guna Seema’ reverberated with good sangathies.<br /><br />With their good voices and neat presentation, they earned the appreciation of the assembly. ‘Hari Kunida Namma’ was lively and the ‘Maitrim Bhajata’ is a favourite patriotic song.<br /><br />Hunnime Sangeetha<br /><br />It was the turn of Dr Vaishaly this time to perform in the series ‘Hunnime Sangeetha’ at the ‘Kadu Malleswara Udyanavana’. Clear rendition of raga with subtle ambience and the subsequent aesthetic articulation for Rageshree showed her prowess and competence.</p>.<p> Her methodical approach to the raga (Vilambit Ek Taal and Drut Teen Taal) with an aesthetic touch brought a composite picture of the melody. A number of Kannada compositions – both devaranama and vachana – followed, with popular appeal. Maadi Maadi Kettaru (Basavanna), Aadalu Pogona Baro Ranga (Sripada Rajaru) Baraiah Ranga (Purandara Dasaru), Kayada Kattaleya (Akkamahadevi) – were bristled with melodious sangathies. Panchakshari Hiremath and Hanumanthappa Hugar accompanied on Harmonium and Thabala, respectively.<br /><br />Evocative, crisp dance<br /><br />Nirupama Rajendra, the popular dancer, who is well versed in both Bharathanatya and Kathak, gave a solo Bharathanatya recital. A Ganapathi Stuthi gave her a bright start. The opening, with Kannada lyrics, was followed by the well known ‘Mudaka Rathna Modakam’. She performed with gay abandon, in the ‘Lokadharmi’ beautifully. </p>.<p>The piece de resistance, however, was a piece from the ‘Kumara Sambhava’. The well-known story was depicted with lively visuals, and had crisp movement and of course was attracted by Karnas, a result of intense research by Dr Padma Subramanyam. The ‘Vatsalya Bhava’ was well-depicted in the evergreen devaranama ‘Jagadoddarana’, dramatising the situations with visual appeal. The concluding thillana in Kadanakutuhala (Dr M Balamurali Krishna) was crisp and evocative.</p>
<p>Tribute to music<br /><br />The ESSAE Music foundation had organised music concerts – a veena and a vocal - by young artistes of Bangalore.</p>.<p> First Ashwin Anand opened his Veena recital with the Kambodhi swara jathi. It has charana and is practised on a daily basis by artistes of Mysore School. The Karnataka Kaapi Swara Jathi is known for its very difficult sangathies, set to khanda atha thala and ‘Ateetha Edupu’! ‘Neerajakshi’, the Saveri varna in jhampe thala is shining with datu swaras. The keertane ‘Inthashodha’ is one of the best compositions in the raga Rishabhapriya. He concluded his veena recital with the legendary jinjoti thillana. It was a classical treat sans gimmicks.<br /><br />Impactful rendering<br /><br />S Ramani and K S Giridhar, disciples of S Shankar, senior musician, opened their vocal with the Bhairavi swarajathi. ‘Mayamelara’, the Natakuranji varna in Khanda Triputa, was full of ‘Ragabhava’. ‘Rama Ninnu’, the Anandabhairavi keertana, was small in size but was rendered with good impact. ‘Nadiridiri Dheem’ – the Thodi thillana is a less-known composition and concluded with ‘Shiriye’ in jinjoti. These young artistes presented compositions of Veena Seshanna impactfully. M P Aditya on violin and B R Srinivas on Mridanga supported them.<br /><br />Pleasing vocal<br /><br />The Bangalore Ladies’ Association had organised music and dance programmes on Saturday evening in connection with its Golden Jubilee celebrations.<br /><br />Triveni Saralaya and Kavitha Saralaya, popularly known as ‘Saralaya Sisters’, who gave a vocal duet, were accompanied on the violin by M S Govindaswamy, on mridanga by V S Rajagopal and on ghata by M A Krishnamurthy. Their opening piece itself had the right tempo and the ‘Akhilandeswari’, the popular kruthi on Devi, was also pleasing. Their treatment had a touch of class and the ‘Rama Rama Guna Seema’ reverberated with good sangathies.<br /><br />With their good voices and neat presentation, they earned the appreciation of the assembly. ‘Hari Kunida Namma’ was lively and the ‘Maitrim Bhajata’ is a favourite patriotic song.<br /><br />Hunnime Sangeetha<br /><br />It was the turn of Dr Vaishaly this time to perform in the series ‘Hunnime Sangeetha’ at the ‘Kadu Malleswara Udyanavana’. Clear rendition of raga with subtle ambience and the subsequent aesthetic articulation for Rageshree showed her prowess and competence.</p>.<p> Her methodical approach to the raga (Vilambit Ek Taal and Drut Teen Taal) with an aesthetic touch brought a composite picture of the melody. A number of Kannada compositions – both devaranama and vachana – followed, with popular appeal. Maadi Maadi Kettaru (Basavanna), Aadalu Pogona Baro Ranga (Sripada Rajaru) Baraiah Ranga (Purandara Dasaru), Kayada Kattaleya (Akkamahadevi) – were bristled with melodious sangathies. Panchakshari Hiremath and Hanumanthappa Hugar accompanied on Harmonium and Thabala, respectively.<br /><br />Evocative, crisp dance<br /><br />Nirupama Rajendra, the popular dancer, who is well versed in both Bharathanatya and Kathak, gave a solo Bharathanatya recital. A Ganapathi Stuthi gave her a bright start. The opening, with Kannada lyrics, was followed by the well known ‘Mudaka Rathna Modakam’. She performed with gay abandon, in the ‘Lokadharmi’ beautifully. </p>.<p>The piece de resistance, however, was a piece from the ‘Kumara Sambhava’. The well-known story was depicted with lively visuals, and had crisp movement and of course was attracted by Karnas, a result of intense research by Dr Padma Subramanyam. The ‘Vatsalya Bhava’ was well-depicted in the evergreen devaranama ‘Jagadoddarana’, dramatising the situations with visual appeal. The concluding thillana in Kadanakutuhala (Dr M Balamurali Krishna) was crisp and evocative.</p>
