Ramanavami music concerts conclude

While most of the other Ramanavami katcheris  concluded by the end  of April, Sri Prasanna Sundara Rama Mandira concluded its 76th year of celebrations on the 2nd of May.

As a good gesture, it honours a musician every year. This year, Mysore A.Chandankumar was felicitated for the accolades he has received from Central Sangeeth Natak academy.

Dr.R.Sathyanarayana spoke on the occasion and praised the artiste. He opined that Chandan kumar has developed a unique style of playing flute which must be preserved.

R K Prasanna kumar presented a vocal recital on the occasion along with Tyagarajan(Violin), G.S.Ramanujam(Mridanga) and V.S.Ramesh(Morcing). He is gifted with basic elements like good voice, hold on laya and fertile imagination. Young Prashanth kumar accompanied his father in equal terms. He started with ‘Siddhivinayakam’(Shanmukhapriya-Rupaka-Muthuswami Dixitar)after a little alapa.

This was decorated with  long kalpanaswaras where he exhibited his control on taala by  choosing an ‘ateetha edupu’. ‘Hiranmayeem’, a composition of Muthuswami Dixitar was neatly presented. Mysore Vasudevachar’s popular krithi ‘Brochevarevarura’(Khamach-Adi)displayed his inclination for technical virtuosity, especially in chitteswara.

Prasannakumar pleased the listeners by singing many compositions on Sri Rama. Kannada Devaranama ‘Narayana ninna namada smarane’,’Alli nodalu Rama’, ‘Kanugontini’, a krithi of Tyagaraja , ‘Bhavayami’, another celebrated ragamalika  composition of Swathi Tirunal Maharaja were among other krithis he sang. Voice modulation would have certainly enhanced the musical experience and brought more life  to his singing. Tyagaraj provided melodic music on the violin. Ramanujam and Ramesh gave good support to the singers.

Veteran singer T.V.Shankaranarayana sang under the aegis of Bidaram Krishnappa Prasanna Seetha rama Mandira.

Mysore Srikanth(Violin),H.L.N.Shivashankaraswamy(Mridanga) and Tumkur Shashishankar(Ghata) accompanied him. The crowd puller instantaneously builds up proper rapport with the audience. A seasoned musician, he enters the real spirit of any composition spontaneously. His insight into the concealed intricacies of compositions enables him to make every sangathi interesting. The tempo is maintained throughout.

Satisfying the listeners gains importance by presenting the expected krithis. A satisfying alapa with shades of sentiment marked ‘Shubhapanthuvarali’, that was followed by ‘Shri Sathyanarayana upasmahe’, the divine composition of Muthuswami dixitar. Purandara dasa’s ‘Baarayya Venkataramana’ was also a scholarly rendition.

He easily changed the mood with ‘Sarasa saamadaana’,a fast kruthi and a cascade of kalpana swaras that was heavier than the composition. The soothing ‘Abhayavarade Sharade’ in Hindola was followed by the majestic Shankarabharana. All the sancharas were filled with appropriate embellishments and ragabhava.

Tyagaraja’s ‘Edutanilachite’ captured the rasikas  without a neraval. The thani avartana between the percussionists was also enjoyable. Shankaranarayana sang ‘Neene dodavano’ for the pleasure of Mysore audience. Aging is for his voice and not for his music.

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