<p>Lilting Dasavani<br /></p>.<p>Sree Rama Seva Bhaktha Mandali is celebrating Ramotsava at Third Cross, Srirampura, from last 87 years. This year it had arranged classical music (vocal, veena, percussion ensemble), bhajan, light classical, gamamka, dance and discourses apart from religious rituals.<br /><br />B Hussain Sab Kanakagiri, who performed in the Mandali last week, is known all over the state for his “Dasavani” programmes. He is a disciple of Murgodu Krishna Dasaru and Devappaiah Kakhandaki and has performed all over the state and in London too. <br /><br />Hussain Sab opened his concert with the shloka “Manmanobhista Varadam,” customarily. The first devaranama “Namipe Baagi Shirava” was in raga Yaman, and the second one “Rama Dootha Hanuman” was tuned in Pahadi. For a welcome change, Hussain Sab presented a number of songs of lesser known Haridasas, along with lyrics of popular Dasas.<br /><br />Neene Anatha Bandhu, Naneke Badavanu, Yenu Dhanyalo Lakumi – are favourites of devotees always. Hussain Sab sang with good feeling adding brief explanations here and there. But presentation of few more Ugabhogas may add to the impact of the programme. Gundappa on harmonium, Jaleel Pasha on tabala and Prasad on thaala accompanied faithfully.<br /><br />Pleasant solo violin<br />Bangalore Lalitkala Parishat presented a solo violin recital of T S Krishnamurthy on last Friday, supported by Sindhu Puthuraya. Krishnamurthy (TSK) started his music lessons from his father T K Subramanya Sastry and received advanced training from Dr T S Satyavathi. He has performed in many Sabha and Sammelans, in and outside the country, both as a soloist and accompanist. He teaches music in his T S K School (Bengaluru and the US). He is a ‘Asthan Vidwan’ of Kanchi Kamakoti Peeta and is a recipient of Aryabhata award.<br /><br />The familiar varna in the raga Kambodhi gave the recital a fine start. After the invocatory piece (Vandisuvudu Aadiyali), a most popular and meaningful composition “Mokshamugalada” pleased the gathering. Alapana of Bilahari raga itself showed an element of potential that is proof of his talent and experience.<br /><br />A grand keertane “Dorakuna Yituvanti Seva” glowed with good sangathies. T S Krishna Murthy’s violin was refreshing, marked for its flair and fidelity. The percussion duo - Anoor Anantha Krishna Sharma on mridanga and R Raj Kumar on Dol (Thavil) gave spirited support.<br /><br />Promising vocalist<br />Sunil R Gargyan who gave a vocal recital for the Vyalikaval Sri Rama Temple, is a disciple of veteran musician P S Narayana Swamy. He is a recipient of prizes from the Music Academy and the M S Subbulakshmi Fellowship. He is pursuing post graduation in Sanskrit.<br /><br />A team of young instrumentalists accompanied Sunil Gargyan - B K Raghu on violin, Akshay Anand on mridanga and Harihara Subramanyan on ghata - who played with aplomb. Sunil's alapana was neat and evocative and the keertana was embellished with a flurry of alluring swara passages. Of his other selections, “Kalyana Rama” and “Alli Nodalu Rama” - deserve mention for articulated rendition justifying their selection.</p>
<p>Lilting Dasavani<br /></p>.<p>Sree Rama Seva Bhaktha Mandali is celebrating Ramotsava at Third Cross, Srirampura, from last 87 years. This year it had arranged classical music (vocal, veena, percussion ensemble), bhajan, light classical, gamamka, dance and discourses apart from religious rituals.<br /><br />B Hussain Sab Kanakagiri, who performed in the Mandali last week, is known all over the state for his “Dasavani” programmes. He is a disciple of Murgodu Krishna Dasaru and Devappaiah Kakhandaki and has performed all over the state and in London too. <br /><br />Hussain Sab opened his concert with the shloka “Manmanobhista Varadam,” customarily. The first devaranama “Namipe Baagi Shirava” was in raga Yaman, and the second one “Rama Dootha Hanuman” was tuned in Pahadi. For a welcome change, Hussain Sab presented a number of songs of lesser known Haridasas, along with lyrics of popular Dasas.<br /><br />Neene Anatha Bandhu, Naneke Badavanu, Yenu Dhanyalo Lakumi – are favourites of devotees always. Hussain Sab sang with good feeling adding brief explanations here and there. But presentation of few more Ugabhogas may add to the impact of the programme. Gundappa on harmonium, Jaleel Pasha on tabala and Prasad on thaala accompanied faithfully.<br /><br />Pleasant solo violin<br />Bangalore Lalitkala Parishat presented a solo violin recital of T S Krishnamurthy on last Friday, supported by Sindhu Puthuraya. Krishnamurthy (TSK) started his music lessons from his father T K Subramanya Sastry and received advanced training from Dr T S Satyavathi. He has performed in many Sabha and Sammelans, in and outside the country, both as a soloist and accompanist. He teaches music in his T S K School (Bengaluru and the US). He is a ‘Asthan Vidwan’ of Kanchi Kamakoti Peeta and is a recipient of Aryabhata award.<br /><br />The familiar varna in the raga Kambodhi gave the recital a fine start. After the invocatory piece (Vandisuvudu Aadiyali), a most popular and meaningful composition “Mokshamugalada” pleased the gathering. Alapana of Bilahari raga itself showed an element of potential that is proof of his talent and experience.<br /><br />A grand keertane “Dorakuna Yituvanti Seva” glowed with good sangathies. T S Krishna Murthy’s violin was refreshing, marked for its flair and fidelity. The percussion duo - Anoor Anantha Krishna Sharma on mridanga and R Raj Kumar on Dol (Thavil) gave spirited support.<br /><br />Promising vocalist<br />Sunil R Gargyan who gave a vocal recital for the Vyalikaval Sri Rama Temple, is a disciple of veteran musician P S Narayana Swamy. He is a recipient of prizes from the Music Academy and the M S Subbulakshmi Fellowship. He is pursuing post graduation in Sanskrit.<br /><br />A team of young instrumentalists accompanied Sunil Gargyan - B K Raghu on violin, Akshay Anand on mridanga and Harihara Subramanyan on ghata - who played with aplomb. Sunil's alapana was neat and evocative and the keertana was embellished with a flurry of alluring swara passages. Of his other selections, “Kalyana Rama” and “Alli Nodalu Rama” - deserve mention for articulated rendition justifying their selection.</p>
