<p>Musical meet<br /><br /></p>.<p>Ramprasad and Ravikumar, popularly known as "Malladi Brothers" were accompanied by a band of talented instrumentalists - Mysore Nagaraj on violin, A V Anand on mridanga and M A Krishnamurthy on ghata. The duo made a graceful impact by their fine presentation. For instance "Shyama Sundaranga Sakala", highlighting its emotional overtones, may be mentioned here. They found them self in a similar upbeat mood in "Abhayambikaya". <br /><br />Their brief profile of the raga was evocative providing a springboard for the composition "Needucharanamule". After rendering "Mamahridaye" with good feeling, the dignified kriti "Seshachala Pahimam" was embellished with a meaningful 'nerval' and well knit 'swaraprasthara'. In total, they succeeded in highlighting the emotional overtones of each raga and krithy.<br /><br />Educative session<br /><br />In the academic session of the music conference this year, different possibilities of percussion instruments were demonstrated and discussed. V Krishna and G Guru Prasanna demonstrated a variety of Korappu. <br /><br />In Thishra and Panchanade, intelligently woven in Misrachapu, Khanda Thriputa and few other Thalas - were presented by them. Veteran musician Neela Ramagopal and Senior artiste M A Jayarama Rao paid rich tributes to GNB and C K Ayyamani Iyer, stalwarts of yester years. Prasanna Kumar in his demonstration presented different shollukattu used in dance compositions, assisted by Sri Hari (mridanga) and Srivathsa (vocal). Dr S C Sharma, Vice Chancellor of Tumkur University, is also known as a vocalist and a reputed musicologist. In his lecture he narrated the life and works of D K Pattamal using some rare photographs also (on the screen). For a good measure he sang few compositions like 'Chinthayami', 'Ranganayakam' and 'Sri Subramanya', melodiously. <br /><br />Dr Suma Sudhindra recalled the teaching methodology of late L Rajarao and presented two compositions in Bhouli (veena-herself) and a Keerthana (vocal-suchethan). Dr T S Sathyavathi, speaking on the raga jinjoti, said that Mysore’s contribution in popularising jinjoti is significant. To illustrate she sang compositions of Dikshithar, Tyagaraja, Swathi Thirunal, Veena Seshanna and few others. Curtains came down on this year's academic session on Saturday, with a seminar. <br /><br />R N Thyagarajan, H S Sudhindra, Ramanuja Iyengar and N S Krishnamurthy spoke on the current trends of Karnatic music. Vidwan A V Anand presided and Kanakaswamy compered the programmes.<br /><br />Promising artiste<br /></p>.<p><br />The other young dancer who performed last week is B C Bhavya, from the Dristi Art Centre. Bhavya made an immediate impact in the opening ‘Suryanjali’ (lavangi) itself. 'Ranjanimala' - a familiar krithi in classical music concert, was on the Devi and she scored in Jathiswara too (Rasikapriya). Her portrayal for the celebrated varna in Navaraga Malika broughtout the salient elements in both the nritha and nrithya. <br />With some more years of training Bhavya can can be success. She was accompanied by Guru Anuradha Vikranth (natuvanga), Manasi Prasad (vocal) Gurumurthy (mridanga), Chithra Lingam (veena), Narasimhamurthy (flute) and Prasanna Kumar (morching).<br /><br />Youthful exuberance<br /><br />Mitha Ramesh who gave a kathak dance recital is a student of 'Nadam', popular Kathak school of Bangalore. She is the grand daughter of D S Garud, the tabla wizard. She has already performed in few dance programmes, in and outside Bangalore. "Saraswathi Vandana" gave her recital a bright start. The "Theen Thai" and the "Dhammar" - stood testifying to her hard practice. <br /><br />The tharana which brought the curtains down was in the raga yaman kalyan. With some more higher training and stage experience Mitha has a bright future in the years to come.<br /><br />Apart from her gurus Nandini Mehtha and Murali Mohan, she was well supported by Praveen D Rao (tabla) Samanvitha Sharma (vocal), Deepak (sarangi), Prakash Hegde (flute) and Srinivas (sitar) - from the wings.</p>
<p>Musical meet<br /><br /></p>.<p>Ramprasad and Ravikumar, popularly known as "Malladi Brothers" were accompanied by a band of talented instrumentalists - Mysore Nagaraj on violin, A V Anand on mridanga and M A Krishnamurthy on ghata. The duo made a graceful impact by their fine presentation. For instance "Shyama Sundaranga Sakala", highlighting its emotional overtones, may be mentioned here. They found them self in a similar upbeat mood in "Abhayambikaya". <br /><br />Their brief profile of the raga was evocative providing a springboard for the composition "Needucharanamule". After rendering "Mamahridaye" with good feeling, the dignified kriti "Seshachala Pahimam" was embellished with a meaningful 'nerval' and well knit 'swaraprasthara'. In total, they succeeded in highlighting the emotional overtones of each raga and krithy.<br /><br />Educative session<br /><br />In the academic session of the music conference this year, different possibilities of percussion instruments were demonstrated and discussed. V Krishna and G Guru Prasanna demonstrated a variety of Korappu. <br /><br />In Thishra and Panchanade, intelligently woven in Misrachapu, Khanda Thriputa and few other Thalas - were presented by them. Veteran musician Neela Ramagopal and Senior artiste M A Jayarama Rao paid rich tributes to GNB and C K Ayyamani Iyer, stalwarts of yester years. Prasanna Kumar in his demonstration presented different shollukattu used in dance compositions, assisted by Sri Hari (mridanga) and Srivathsa (vocal). Dr S C Sharma, Vice Chancellor of Tumkur University, is also known as a vocalist and a reputed musicologist. In his lecture he narrated the life and works of D K Pattamal using some rare photographs also (on the screen). For a good measure he sang few compositions like 'Chinthayami', 'Ranganayakam' and 'Sri Subramanya', melodiously. <br /><br />Dr Suma Sudhindra recalled the teaching methodology of late L Rajarao and presented two compositions in Bhouli (veena-herself) and a Keerthana (vocal-suchethan). Dr T S Sathyavathi, speaking on the raga jinjoti, said that Mysore’s contribution in popularising jinjoti is significant. To illustrate she sang compositions of Dikshithar, Tyagaraja, Swathi Thirunal, Veena Seshanna and few others. Curtains came down on this year's academic session on Saturday, with a seminar. <br /><br />R N Thyagarajan, H S Sudhindra, Ramanuja Iyengar and N S Krishnamurthy spoke on the current trends of Karnatic music. Vidwan A V Anand presided and Kanakaswamy compered the programmes.<br /><br />Promising artiste<br /></p>.<p><br />The other young dancer who performed last week is B C Bhavya, from the Dristi Art Centre. Bhavya made an immediate impact in the opening ‘Suryanjali’ (lavangi) itself. 'Ranjanimala' - a familiar krithi in classical music concert, was on the Devi and she scored in Jathiswara too (Rasikapriya). Her portrayal for the celebrated varna in Navaraga Malika broughtout the salient elements in both the nritha and nrithya. <br />With some more years of training Bhavya can can be success. She was accompanied by Guru Anuradha Vikranth (natuvanga), Manasi Prasad (vocal) Gurumurthy (mridanga), Chithra Lingam (veena), Narasimhamurthy (flute) and Prasanna Kumar (morching).<br /><br />Youthful exuberance<br /><br />Mitha Ramesh who gave a kathak dance recital is a student of 'Nadam', popular Kathak school of Bangalore. She is the grand daughter of D S Garud, the tabla wizard. She has already performed in few dance programmes, in and outside Bangalore. "Saraswathi Vandana" gave her recital a bright start. The "Theen Thai" and the "Dhammar" - stood testifying to her hard practice. <br /><br />The tharana which brought the curtains down was in the raga yaman kalyan. With some more higher training and stage experience Mitha has a bright future in the years to come.<br /><br />Apart from her gurus Nandini Mehtha and Murali Mohan, she was well supported by Praveen D Rao (tabla) Samanvitha Sharma (vocal), Deepak (sarangi), Prakash Hegde (flute) and Srinivas (sitar) - from the wings.</p>
