April 'showers' Hindustani, Karnatak music

April 'showers' Hindustani, Karnatak music

It is  customary  with the Sangeetha Sabhas and Rama Mandiras to have at least one Hindustani concert during the Ramanavami celebrations.

Ramabhyudaya Sabha of Srirampet too had Dr M S Bhaskar’s vocal recital on April 4 at its premises.  Dr Bhaskar was accompanied by Veerabhadriah Hiremath on the harmonium and Ramesh Dhannur on the tabla. A busy neuro surgeon always in demand, one is surprised to know how he manages to allocate time for music. It is not an easy task to harness a rigid voice. Dr Bhaskar has undoubtedly put in many hours of riaz to make it flexible.  

The opening raga was Purvkalyan, an equivalent to Poorvikalyani of Karnatak music. A short sketch of raga lead to a bandish ‘Ho van laagi saanj’ in vilambit ek tal. ‘Dhan dhan baage jaage’ in Dhruth was attractive with a variety of improvisations.

There were Ghorak kalyan, Malkauns too before a few lighter pieces like  Devaranamas and a bhajan. He was able to hold the listeners in ‘Nith uth japre raam naam’ and ‘Mukh mor mor mose kahata jatha’. Veerabhadriah and Ramesh Dhannur gave a good saath.
Maharajapuram Ramachandran sang at the Shree Prasanna Seetha Rama Mandira of Gana Visharada Bidaram Krishnappa on April 5.

He was accompanied by Mysore M Nagaraj (violin), Thiruvarur Bhakthavatsala (mridanga) and Tripunitara Prabhakrishnan(ghata). Ramachandran has the ability to pull a crowd with his own style of singing.

Elaborate kalpana swaras

The elaborate kalpana swaras are more emphasised in his singing. The lengthy and calculative mukthayas along with the loud percussion combination are sure to bring appreciative thunderous applause.  

Starting from a Varna in Bhegade (Inthachala), he went on to present a number of compositions like ‘Jayajaya janakikantha’, Seerhamma mayamma’, ‘Sadhinchene’, Maarubalka,’ ’Mohana Rama’ and others apart from a medley of ragas in Tamil. Sriranjini and Mohana were taken up for alapana. His
voice facilitates him to easily float from phrase to phrase.

Nagaraj’s bowing brought a very pleasant Sreeranjini and Mohana. His capacity to adapt to any manodharma is commendable.

Melodious voice

Vijayalakshmi Subramanyam sang under the aegis of Shree Rama seva mandali charitable trust of Mysore North (April 7). B K Raghu and H L Shivashankaraswamy supported on the violin and mridangam respectively. Vijayalakshmi has a melodious voice that can beautifully  transfer  her musical thoughts.

The judicial use of birkas and gamakas adds to it. The vast repertoire of kruthis help her to plan suitably for the occasion.

After an invocatory ‘Melukovayya’ in Bhowli, she chose to sing the popular ‘Seethamma maayamma’ in the raga vasantha.

It was decorated with speedy kalpana swaras at ‘Dharanija bhargavathaare’. The alapa of Mohana was evocative and impressive.

The slow tempo enhanced its grace. Young Raghu was fantastic in his raga delineation. He was at par with the experienced main artiste in every aspect.

The majestic composition of Mysore Vasudevachar ‘Raara Rajeevalochana’ was presented in all its glory. She succeeded in bringing out the inner feeling of the keerthana.


The devotion and absorption was touching. The abundant combinations of unhurried kalpana swaras in half and three fourth of an aavartha is worth mentioning . Her rich manodharma inspired the accompanists to give their best.

The nuances of pratimadhyama came alive in an enchanting expansion of Hameerkalyani. The alapa was filled with ragabhava in every phrase. Muthuswamy Dixitar’s ‘Parimala Ramganatha’ was soothing.

The main raga of the day was Kharaharapriya that carried the listeners to a different world. Every single note  breathed the ragarasa that was absorbing. Tyagaraja’s ‘Rama nee samanamevaru’ was the right choice for the occasion. Once again it was the slow pace that made the music more enjoyable. Raghu was at his best and Shivashankar Swamy too did not lag behind.

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