Enthralling music show

Senior vocalist Indudhar Nirodi performing at the Swara Sankula Sangeetha Sabha, in Mysore recently. (below) Saraswathi M K presenting a Veena recital in a programme organised at Sri Shankara Jayanthi Sabha. Photos by the author

Pt. Indudhar Nirodi, the senior most singer of Mysore presented this vocal recital accompanied by Veerabhadraiah Hiremath(Harmonium) and Bhimashankar Bidanur(Tabla). Pt Nirodi belongs to the Agra Gharana of singing. His open throated singing (even at the age of 77 !)despite a tinge of nasal in the intonation was enjoyable. Aging has not diminished his  lung power. The broad gamakas, variety of rhythmic techniques and the enthusiastic presentation  impressed the rasikas.

He started the concert with Rag Bhimpalas , an equivalent of Abheri in Karnatak music. After a little alap, he indulged in nom tom alapchari to establish the different sancharas of the rag. ‘Ab to sunle man ki papeeha’ the khyal was well expanded  followed by dhruth for nearly an hour. All the other ragas he sang were not for a detailed exposition.

He took up Rag Purvi which has both the madhyam in its scale in which he sang ‘Maayi mere nainan’. Hamir is an attractive rag and had  nostalgic  flavour in  his rendering. It was amazing to hear him reach the panchama in higher octave effortlessly. He sang ‘Kaise ghar jaavo’ with involvement.

This concert featured his repertoire of ragas. Shankara, Khamach, Bhairavi were the other rags he presented. Though short, they were self explanatory and contented.

Veerabhadraiah Hiremath did not miss an opportunity to prove his mettle. Bidanur too pleased the audience with his rhythmic patterns. Another senior veena vidushi of Mysore M.K.Saraswathi presented a veena recital under the aegis of Shri Shankara Jayanthi Sabha. The Sabha is celebrating its 32nd anniversary and Shankara jayanthi. As a part of cultural programmes, M.K.saraswathi enthralled the music lovers with her ‘Singing Veena’. Young and talented A Radhesh accompanied her on the Mridanga. The ‘gayaki’ style and adherence to tradition are the hallmark of her playing. She makes an impact within this boundary. The clarity of naada is striking. Every composition is embellished with appropriate gamakas and techniques that are exclusive to veena.

Saraswathi presented a number of popular krithis which were decorated with alapa and kalpana swaras. The opening composition was ‘Shri Raghuvara’(Hamsadhwani-Adi-Tyagaraja) with a frill of brisk swara prasthara. ‘Naada tanumanisham’ another krithi of Tyagaraja in Chitharanjini was melodious. After a rarely heard krithi of Ramnad Srinivasa Iyengar ‘’Samajavarada’ in Shuddhasaveri, she took up raga Nagaswaravali for a fairly elaborate alapa. ‘Shri Shankaraguruvaram’ of Maha Vaidyanathayyar was an apt selection for the occasion.

The rich nada flowed flawlessly in the alapa and her kalpana swara was a continuation of nada and ragabhava. She took up Panthuvarali as the main raga of the day and played taana, filled with a variety of nade patterns. Tyagarajas ‘Shivashiva enarada’ was sparkling with a  few new approaches in the krithi. A neraval at ‘Kamadula tegakoti’ was followed by a cascade of swaras.

Sri Shankaracharyas ‘Bhajagovindam’ in ragamalika was very appealing. Yamunakalyani, Basanth, Brindavani and Sindhubhairavi were pleasing. After Sadashiva Brahmendras composition ‘Pahi mukundethi’ she concluded the recital with ‘Venkatachala nilayam’, a Sanskrit composition of Purandara dasa. Radhesh’s well  controlled and different beats blended with the sound of Veena.

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