<p>The musical tribute was started by Vid M K Saraswathi, the senior veena player of Mysore. She appropriately opened the session with a compositions of Muthuswami Dixitar , ‘MahaGanapathim’ in the raga Nata and a Devaranama ‘Smaraneyonde Salade’ in Malayamarutha. Vani Satish from Bengaluru presented ‘Nadatanumanisham’ (Chintamani-Tyagaraja) and ‘Akhilandeshwari’(Dwijavanthi-Dixitar) in a pleasing way. <br /><br />This was followed by Prashanth of Bengaluru, Chandankumar (flute), Manasanayana, Karthik (violin) and many more. Instrumentalists changing their roles was the highlight of the day. The opener M K Saraswathi and the last singer Mysore Manjunath surprised everyone with their vocal presentation. Manjunath proved that he is a good singer as well. It was more surprising to watch Arjunkumar, a well known mridangist, who was playing flute in the Goshti gana!<br /><br />The Goshti gana which started with the traditional Pillari Geethas had only one Pancharathna Kruthi as a representation. Nevertheless, the participation of many musicians under the able guidance of Vid Mahalakshmi and Yadugiri joined in paying their respects to the great composers.<br /><br />Lively concert<br />Tyagaraja sangeetha Sabha had organised a vocal concert by Vid Geetha Putti recently at Prarthana Mandira. M P Jyothi(violin) and P Nataraj (mridanga) accompanied her. <br />Geetha is groomed by T P Vaidyanathan and G S Rajalaksmi and G S Kamala. She has a sweet and a soft voice that suits her manodharma well. A singing that shuns acrobats of any sort is naturally pleasing to the ears. There is a liveliness in her singing that doesn’t go unnoticed. The creative expression touches you with their simplicity.<br /><br /> The Shree Raga varna ‘Samininne’ paved way to obeisance to the elephant headed ‘Gajavadana’ in the Raga Shree ranjani, a composition of Papanasam Shivan. A Kruthi of MahaVaidyanathayyar in Nagaswaravali ‘Shankara Guruvara’ was melodious. <br /><br />‘Ekamreshanayike’of Muthuswami Dixitar in the Raga Karnataka Shuddha saveri carried a clear enunciation. It was raga Kalyani that she opted for alapana. The mellow shades of this beautiful raga were sketched in a short alapa. ‘Amma Ravamma’ of Tyagaraja was presented with an expansion of “Thamarasadala nethri Tyagarajuni mithri” decorated with Kalpanaswaras. <br /><br />‘Bagayanayya’ (chandrajyothi-Tyagaraja) and ‘Karunichi nannu’ (navarasakannada-Mysore Vasudevachar) were attractive with crispness and ragabhava . The main raga of the day was Madhyamavathi . The slow expansion of the raga suited the vilamba kala of the composition. The phrases she sang successfully created a calmness which was followed by the serenity of the Kruthi ‘Ramakathasudha’ of Tyagaraja. This feeling augmented with a neraval and kalpanaswara. ‘Enu baredeyo brahma’ , a Devaranama of Purandara Dasa in Mukhari and Shivaranjani was meaningful with the sanchari bhavas. Geetha was well supported by Jyothi and Nataraj.<br /></p>
<p>The musical tribute was started by Vid M K Saraswathi, the senior veena player of Mysore. She appropriately opened the session with a compositions of Muthuswami Dixitar , ‘MahaGanapathim’ in the raga Nata and a Devaranama ‘Smaraneyonde Salade’ in Malayamarutha. Vani Satish from Bengaluru presented ‘Nadatanumanisham’ (Chintamani-Tyagaraja) and ‘Akhilandeshwari’(Dwijavanthi-Dixitar) in a pleasing way. <br /><br />This was followed by Prashanth of Bengaluru, Chandankumar (flute), Manasanayana, Karthik (violin) and many more. Instrumentalists changing their roles was the highlight of the day. The opener M K Saraswathi and the last singer Mysore Manjunath surprised everyone with their vocal presentation. Manjunath proved that he is a good singer as well. It was more surprising to watch Arjunkumar, a well known mridangist, who was playing flute in the Goshti gana!<br /><br />The Goshti gana which started with the traditional Pillari Geethas had only one Pancharathna Kruthi as a representation. Nevertheless, the participation of many musicians under the able guidance of Vid Mahalakshmi and Yadugiri joined in paying their respects to the great composers.<br /><br />Lively concert<br />Tyagaraja sangeetha Sabha had organised a vocal concert by Vid Geetha Putti recently at Prarthana Mandira. M P Jyothi(violin) and P Nataraj (mridanga) accompanied her. <br />Geetha is groomed by T P Vaidyanathan and G S Rajalaksmi and G S Kamala. She has a sweet and a soft voice that suits her manodharma well. A singing that shuns acrobats of any sort is naturally pleasing to the ears. There is a liveliness in her singing that doesn’t go unnoticed. The creative expression touches you with their simplicity.<br /><br /> The Shree Raga varna ‘Samininne’ paved way to obeisance to the elephant headed ‘Gajavadana’ in the Raga Shree ranjani, a composition of Papanasam Shivan. A Kruthi of MahaVaidyanathayyar in Nagaswaravali ‘Shankara Guruvara’ was melodious. <br /><br />‘Ekamreshanayike’of Muthuswami Dixitar in the Raga Karnataka Shuddha saveri carried a clear enunciation. It was raga Kalyani that she opted for alapana. The mellow shades of this beautiful raga were sketched in a short alapa. ‘Amma Ravamma’ of Tyagaraja was presented with an expansion of “Thamarasadala nethri Tyagarajuni mithri” decorated with Kalpanaswaras. <br /><br />‘Bagayanayya’ (chandrajyothi-Tyagaraja) and ‘Karunichi nannu’ (navarasakannada-Mysore Vasudevachar) were attractive with crispness and ragabhava . The main raga of the day was Madhyamavathi . The slow expansion of the raga suited the vilamba kala of the composition. The phrases she sang successfully created a calmness which was followed by the serenity of the Kruthi ‘Ramakathasudha’ of Tyagaraja. This feeling augmented with a neraval and kalpanaswara. ‘Enu baredeyo brahma’ , a Devaranama of Purandara Dasa in Mukhari and Shivaranjani was meaningful with the sanchari bhavas. Geetha was well supported by Jyothi and Nataraj.<br /></p>
