<p>Workshop on Veena<br /><br /></p>.<p>The SVN Music Academy conducted a workshop on Veena, the queen of instruments, under the direction of Dr R Visweswaran, in collaboration with the Bharatiya Vidya Bhavan. Three Veena recitals each of a different generation and style, pleased the gathering.<br /><br />Dr R Visweswaran is not only a veteran Veena player, but also a senior teacher, composer and also author of a few books. When one listens to veteran R Visweswaran on the Veena, it is impossible to believe that he is 85! <br /><br />“Sri Saraswathi,” the soulful Arabhi composition of Dikshitar gave Prof Visweswaran a sound beginning. Then a rare Sriranga Prabandha of Venkatamakhi in the Raga Bouli. <br /><br />The “Brochevarevarura” was followed by “Sri Nararda” of “Saint Tyagaraja”. Kaanada acquired a special delight at the improvisational flashes. Kambodhi alapana was spacious, neat and rich in gamakas. “Thaana,” the speciality of Veena, was rendered in a few Hindustani-influenced ragas like Lalath, Maru Behag and Bairagi Bhairav, apart from Natakuranji and Kambodhi. <br /><br />He chose a self composed kruthi “Shive Sri Tripura Sundari Pahimam” set to misrachapu Thala, that too, in the “Atheetha Graha.” He concluded with a composition of Tyagaraja in the raga Aahiri. He brought out subtleties of each raga, impactfully and the concert was like a guiding lamp to youngsters. Three percussionists – R Adamya Guruprasanna and B Rajasekhar gave good support on mridanga, khanjari and morching, respectively.<br /><br />Impressive Pallavi<br /><br />On Sunday, popular Vainiki Dr Suma Sudhindra opened her recital with a varnna, in Kalyani, but in five speeds, which revealed her brilliance. <br /><br />The “Hiranmayeem” of Dikshitar in that evocative Raga Lalitha, was also pleasing. Dharmavathi (the 59th Mela) alapana enlivened with some lovely “Sangathies”. <br /><br />Thana was equally impressive and the Pallavi in Khanda Nade Adi Thala, with fine swaraprasthara, its lilting laya giving it a haunting tilt. The racy Desh Thillana of Lalgudi Jayaraman lending the recital a delightful finale. Nalina Mohan on violin, B C Manjunath on mridanga, Srishylan S on ghata and Srilatha’s (co-player) support were complementary to the Veena recital.<br /><br />Sparkling Veena<br /><br />Curtains came down on the Veena workshop with the Veena recital of Dr Jayanthy Kumaresh, who has a reputation for consistency. The Natakuranji Kruthi of Dikshitar gave her a flying start. Raga Kantamani acquired a lilting flavour with crisp swara for the Tyagaraja composition. <br /><br />Kharaharapriya alapana was presented with usual elan and the thana in different ragas was also attractive. “Prakkalanilabadi”, the stately composition’s impact bristled with a sparkling swara prasthara. The Jawadi and the Shyama Sastry Kruthi were also tuneful. H S Sudheendra on mridanga and Phanindra Bhaskar on ghata, rose to great heights in their supporting roles.<br /><br /></p>
<p>Workshop on Veena<br /><br /></p>.<p>The SVN Music Academy conducted a workshop on Veena, the queen of instruments, under the direction of Dr R Visweswaran, in collaboration with the Bharatiya Vidya Bhavan. Three Veena recitals each of a different generation and style, pleased the gathering.<br /><br />Dr R Visweswaran is not only a veteran Veena player, but also a senior teacher, composer and also author of a few books. When one listens to veteran R Visweswaran on the Veena, it is impossible to believe that he is 85! <br /><br />“Sri Saraswathi,” the soulful Arabhi composition of Dikshitar gave Prof Visweswaran a sound beginning. Then a rare Sriranga Prabandha of Venkatamakhi in the Raga Bouli. <br /><br />The “Brochevarevarura” was followed by “Sri Nararda” of “Saint Tyagaraja”. Kaanada acquired a special delight at the improvisational flashes. Kambodhi alapana was spacious, neat and rich in gamakas. “Thaana,” the speciality of Veena, was rendered in a few Hindustani-influenced ragas like Lalath, Maru Behag and Bairagi Bhairav, apart from Natakuranji and Kambodhi. <br /><br />He chose a self composed kruthi “Shive Sri Tripura Sundari Pahimam” set to misrachapu Thala, that too, in the “Atheetha Graha.” He concluded with a composition of Tyagaraja in the raga Aahiri. He brought out subtleties of each raga, impactfully and the concert was like a guiding lamp to youngsters. Three percussionists – R Adamya Guruprasanna and B Rajasekhar gave good support on mridanga, khanjari and morching, respectively.<br /><br />Impressive Pallavi<br /><br />On Sunday, popular Vainiki Dr Suma Sudhindra opened her recital with a varnna, in Kalyani, but in five speeds, which revealed her brilliance. <br /><br />The “Hiranmayeem” of Dikshitar in that evocative Raga Lalitha, was also pleasing. Dharmavathi (the 59th Mela) alapana enlivened with some lovely “Sangathies”. <br /><br />Thana was equally impressive and the Pallavi in Khanda Nade Adi Thala, with fine swaraprasthara, its lilting laya giving it a haunting tilt. The racy Desh Thillana of Lalgudi Jayaraman lending the recital a delightful finale. Nalina Mohan on violin, B C Manjunath on mridanga, Srishylan S on ghata and Srilatha’s (co-player) support were complementary to the Veena recital.<br /><br />Sparkling Veena<br /><br />Curtains came down on the Veena workshop with the Veena recital of Dr Jayanthy Kumaresh, who has a reputation for consistency. The Natakuranji Kruthi of Dikshitar gave her a flying start. Raga Kantamani acquired a lilting flavour with crisp swara for the Tyagaraja composition. <br /><br />Kharaharapriya alapana was presented with usual elan and the thana in different ragas was also attractive. “Prakkalanilabadi”, the stately composition’s impact bristled with a sparkling swara prasthara. The Jawadi and the Shyama Sastry Kruthi were also tuneful. H S Sudheendra on mridanga and Phanindra Bhaskar on ghata, rose to great heights in their supporting roles.<br /><br /></p>
