Heritage music festival celebrated in Mysore

Heritage music festival celebrated in Mysore

Heritage music festival celebrated in Mysore

Artists rendering vocal recital in Mysore. Dh photo

Sri Prasanna Vidya Ganapathi Mahotsava Charitable Trust of V.V.Mohalla  is celebrating its 49th year of heritage music festival in memory of  Pt. Mallikarjun Mansur. On the 13th of September, a Jugalbandhi of Sarod and Violin by Pt Rajiv Taranath and Vid Mysore M Nagaraj was arranged. Ravindra Yavagal (Tabla) and A.U.Jayachandra Rao(Mridanga) accompanied them.

These two great musicians of our time though have not played many jugalbandis together,( this may be the 3rd or 4th time) displayed good amount of harmony. After a long expecting moments, the concert started with Raga Kalyani and Yaman.

As the pure and straight notes from Sarod and the gamaka laden phrases from the violin filled the pendal, the squeaking sound of mike would dampen the spirit of both the artistes and the rasikas.  Nagaraj as though determined not to get disturbed unraveled Kalyani in a stunning way.  A visibly perturbed Rajiv ( by insects, lack of electric fan and mike) succeeded in pleasing his fans with his deep and sound playing.

They both made the simple ‘Gat’ shine with all the embellishments in their own laykari and tana patterns. Sindhubhairavi too was absorbing. The Sawal jawab of Tabla and Mridanga too was very attractive.

Young and energetic Pattabhirama Pandit sang the next day along with Mysore Nagaraj(Violin),Tumkur Ravishankar(Mridanga) and Vyasavithala(Khanjira). The virile strength in his style results in a vibrant concert.

This could be experienced right from the opening Varna ‘Viriboni’(Bhairavi-Ata tala) which had a frill of Kalpana swaras too. Krithis are sparkling in his rendering with sharp and innovative sangathis. ‘Amba Janani’(Reethigowla-Misra chapu) and ‘Annapurne’(sama-Adi)were example for this. The leisurely approach to raga Todi from lower notes of the middle octave embellishing every note with deep concern and utmost care brought out the raga bhava fully. His voice reached panchama easily in the higher octave.

 Tyagaraja’s ‘Dasharathe’ in a slow tempo was soothing. A neraval at “Bhakthileni kavijaalavarenyalu” was followed by intricate patterns of swaras. Equally good was the tani of the percussionists. Nagraj was exemplary as though to inspire the young main artiste.      Another young artiste from the neighbouring state was Pradeep kumar who sang with Charulatha Ramanujam(Violin),H.S.Sudhindra(Mridanga) and G.S.ramanujan(Ghata). He has a good voice and fertile imagination.

He presented a number of Krithis with kalpana swaras and alap. ‘Jayajaya Janakikantha’,’Sogasujudatarama’,’sakalagrahabala nine’, ‘Kaalaharanamelara’, ‘Vijayambike’, ‘Akhilandeshwari’ and the list goes on. A lengthy alap of Dwijavanthi which exhibited his skills lacked in bringing the subtle nuances of the raga. The Kalpana swaras had a number of permutation and combinations.

More Concert experience and inclusion of voice modulation shall bring the required raga bhava in his alapana. He also should be careful in rendering the lyrics properly.