<p>Apart from paying musical homage to the great Guru, a felicitation to one of the senior disciples of Gawai was also organised. <br /><br />Pandit Siddharamaswamy Korawara, who learnt music at the Veereshwara Punyashrama in the Gurukula system for several years was honoured. Pandit Korwar runs a music Institute in his Guru’s name in Bhopal for the past 50 years. <br /><br />He has received ‘Sangeeth Visharad’ degree from Gandharva Maha Vidyalay of Mumbai,and post graduated from Prayag University and Barkhatulla University of music. <br />An ‘A’ grade artiste of All India Radio, Korwar has performed in many places including Tansen Sangeeth samaroh at Gwalior. <br /><br />Tribute<br /><br />The students of Swara Sankula Music School paid their musical tribute to Dr Puttaraja Gawai after which, there was a Hindusthani Vocal concert by Pandit Shreepad Hegde. Hegde, who started his musical journey from Pandit Ganapathy Bhat, continued his tutelage under Pandit Basavaraja Rajaguru of Dharwad. <br /><br />Family of Yakshagana<br /><br />He belongs to the family of Yakshagana , the influence of which can be traced in his singing. <br /><br />After his concert, Pandit Siddharamaswamy Korwar sang for the delight of audience. They both were accompanied by Pandit Vishwanath Nakod (Tabla) and B Shreeram Bhat (Harmonium). Pandit Shreepad Hegde started with a bandish in Rag Yaman “Mora ghar aaye” in a matured style. <br /><br />He unfolded the nuances of this attractive raga in a slow and majestic way. The raga development had the gamakas, glides and swings that sounded many a times unusual yet attractive. <br /><br />Melodic combinations<br /><br />The melodic combinations for instance in daatu swara prayogas he used were something that was rare in this system of music. All this did result in a melodic mould that was satisfying. <br /><br />The open throated singing echoed in the auditorium especially in the Dhruth. “Jaane nahi detha mohe Kanha” continued in Yaman with many a shades of emotion expressing gopika’s anguish. The swar taan too had his identity. <br /><br />“Guruvina gulamanaguvatanaka” in thick shades of Mand was filled with lyrical beauty. <br />He concluded with “Jnanada baladinda”, another Kannada composition. Pandit Siddharamaswamy, proved that aging is only for the body and not for his music. <br /><br />Losing stamina<br /><br />He might have lost the stamina, but he sings perfectly to shruthi . One can easily be reminded of his music in his younger days when he tries to sing with the same efforts. <br />He sang Rag Puriyakalyan and champakali for the pleasure of his fans. Pandit Vishwanath Nakod and Shreeram Bhat gave very good support for both the singers. <br /></p>
<p>Apart from paying musical homage to the great Guru, a felicitation to one of the senior disciples of Gawai was also organised. <br /><br />Pandit Siddharamaswamy Korawara, who learnt music at the Veereshwara Punyashrama in the Gurukula system for several years was honoured. Pandit Korwar runs a music Institute in his Guru’s name in Bhopal for the past 50 years. <br /><br />He has received ‘Sangeeth Visharad’ degree from Gandharva Maha Vidyalay of Mumbai,and post graduated from Prayag University and Barkhatulla University of music. <br />An ‘A’ grade artiste of All India Radio, Korwar has performed in many places including Tansen Sangeeth samaroh at Gwalior. <br /><br />Tribute<br /><br />The students of Swara Sankula Music School paid their musical tribute to Dr Puttaraja Gawai after which, there was a Hindusthani Vocal concert by Pandit Shreepad Hegde. Hegde, who started his musical journey from Pandit Ganapathy Bhat, continued his tutelage under Pandit Basavaraja Rajaguru of Dharwad. <br /><br />Family of Yakshagana<br /><br />He belongs to the family of Yakshagana , the influence of which can be traced in his singing. <br /><br />After his concert, Pandit Siddharamaswamy Korwar sang for the delight of audience. They both were accompanied by Pandit Vishwanath Nakod (Tabla) and B Shreeram Bhat (Harmonium). Pandit Shreepad Hegde started with a bandish in Rag Yaman “Mora ghar aaye” in a matured style. <br /><br />He unfolded the nuances of this attractive raga in a slow and majestic way. The raga development had the gamakas, glides and swings that sounded many a times unusual yet attractive. <br /><br />Melodic combinations<br /><br />The melodic combinations for instance in daatu swara prayogas he used were something that was rare in this system of music. All this did result in a melodic mould that was satisfying. <br /><br />The open throated singing echoed in the auditorium especially in the Dhruth. “Jaane nahi detha mohe Kanha” continued in Yaman with many a shades of emotion expressing gopika’s anguish. The swar taan too had his identity. <br /><br />“Guruvina gulamanaguvatanaka” in thick shades of Mand was filled with lyrical beauty. <br />He concluded with “Jnanada baladinda”, another Kannada composition. Pandit Siddharamaswamy, proved that aging is only for the body and not for his music. <br /><br />Losing stamina<br /><br />He might have lost the stamina, but he sings perfectly to shruthi . One can easily be reminded of his music in his younger days when he tries to sing with the same efforts. <br />He sang Rag Puriyakalyan and champakali for the pleasure of his fans. Pandit Vishwanath Nakod and Shreeram Bhat gave very good support for both the singers. <br /></p>
