<p>The Tyagaraja Sangeetha Sabha celebrated its silver jubilee with a series of concerts from January 29 to February 5.<br /><br /></p>.<p>The goodwill of the organisers lay in holding these concerts at various venues to enable the rasikas residing at different places. It really helped many to listen to their favourite singer or player. Another good gesture of this sabha was to provide a platform for students for more than an hour every day before the main concert. This gave them an opportunity to perform as well as to overcome stage fear. Mostly students of the main artistes of the day enjoyed this occasion.<br /><br />Young flutist A P Krishnaprasad played on February 2 at the Krishnamurthypuram Sri Rama Mandira. He was accompanied by H N Smitha on violin and A U Jayachandra Rao on Mridanga. Krishnaprasad is the son and disciple of A V Prakash, senior flutist and also secretary of the Sabha. <br /><br />He is being groomed by N Ramani now. It was natural for Krishnaprasad to get attracted to flute at a very young age. He has inherited good blowing and the gamakas produced are perfect. He has already mastered the techniques of this divine instrument. His inclination is towards technique and speed, which if controlled can make him an asset to classical music. A fine knowledge of raga and a perfect style in presenting the compositions make his flute interesting. His manodharma blossoms more in kalpana swaras which he handles easily.<br /><br />The opening ragamalika varna lead to a fine alapa of raga Hamsadhwani that sounded deep in the Bansuri. Tyagarajas ‘Raghunayaka’ was neatly presented and was decorated with swaras with more of daatu prayogas to enhance its beauty. ‘Ninuvina namadendu’, a favourite of instrumentalists in Navaraskannada by Tyagaraja was naturally opted by him to put forth all the skills of flute. <br /><br />At his age, it is understandable. But the increase in speed in charana only added to technicality. After a short sketch of Bindumalini, he presented a fine Keertana of Tyagaraja ‘Enta muddo enta sogaso’ set to Adi tala. The increase of speed in charana was a hindrance to enjoy the structure and sahitya bhava of the composition. A short and sweet alapa of Ranjini lead to the popular ‘Durmargachara’ of Tyagaraja. Smitha’s raga delineation was worth remembering. Her fragile fingers can easily produce the most melodic phrases in any raga.<br /><br />The main raga of the day was Mohana. Usage of Bansuri in the lower octave gave a booming effect. The short flute suited perfectly for the notes of middle and higher octaves. The exclusive phrases of flute were a delight. The fast sangathis came in a lightening speed giving a glimpse of his wonderful imagination. Another gem of Tyagaraja, ‘Nanupalimpa’ was aptly decked with elaborate kalpana swaras. <br /><br />Smitha’s soft and melodious mohana pleased the listeners. Jayachandra Rao’s variety of beats added colour to the concert. His percussive support was commendable. Sindhubhairavi was enjoyable before ‘Venkatachala nilayam’ of Purandara Dasa. Krishnaprasad has certainly a bright future in music.<br /></p>
<p>The Tyagaraja Sangeetha Sabha celebrated its silver jubilee with a series of concerts from January 29 to February 5.<br /><br /></p>.<p>The goodwill of the organisers lay in holding these concerts at various venues to enable the rasikas residing at different places. It really helped many to listen to their favourite singer or player. Another good gesture of this sabha was to provide a platform for students for more than an hour every day before the main concert. This gave them an opportunity to perform as well as to overcome stage fear. Mostly students of the main artistes of the day enjoyed this occasion.<br /><br />Young flutist A P Krishnaprasad played on February 2 at the Krishnamurthypuram Sri Rama Mandira. He was accompanied by H N Smitha on violin and A U Jayachandra Rao on Mridanga. Krishnaprasad is the son and disciple of A V Prakash, senior flutist and also secretary of the Sabha. <br /><br />He is being groomed by N Ramani now. It was natural for Krishnaprasad to get attracted to flute at a very young age. He has inherited good blowing and the gamakas produced are perfect. He has already mastered the techniques of this divine instrument. His inclination is towards technique and speed, which if controlled can make him an asset to classical music. A fine knowledge of raga and a perfect style in presenting the compositions make his flute interesting. His manodharma blossoms more in kalpana swaras which he handles easily.<br /><br />The opening ragamalika varna lead to a fine alapa of raga Hamsadhwani that sounded deep in the Bansuri. Tyagarajas ‘Raghunayaka’ was neatly presented and was decorated with swaras with more of daatu prayogas to enhance its beauty. ‘Ninuvina namadendu’, a favourite of instrumentalists in Navaraskannada by Tyagaraja was naturally opted by him to put forth all the skills of flute. <br /><br />At his age, it is understandable. But the increase in speed in charana only added to technicality. After a short sketch of Bindumalini, he presented a fine Keertana of Tyagaraja ‘Enta muddo enta sogaso’ set to Adi tala. The increase of speed in charana was a hindrance to enjoy the structure and sahitya bhava of the composition. A short and sweet alapa of Ranjini lead to the popular ‘Durmargachara’ of Tyagaraja. Smitha’s raga delineation was worth remembering. Her fragile fingers can easily produce the most melodic phrases in any raga.<br /><br />The main raga of the day was Mohana. Usage of Bansuri in the lower octave gave a booming effect. The short flute suited perfectly for the notes of middle and higher octaves. The exclusive phrases of flute were a delight. The fast sangathis came in a lightening speed giving a glimpse of his wonderful imagination. Another gem of Tyagaraja, ‘Nanupalimpa’ was aptly decked with elaborate kalpana swaras. <br /><br />Smitha’s soft and melodious mohana pleased the listeners. Jayachandra Rao’s variety of beats added colour to the concert. His percussive support was commendable. Sindhubhairavi was enjoyable before ‘Venkatachala nilayam’ of Purandara Dasa. Krishnaprasad has certainly a bright future in music.<br /></p>
