Music reviews

Lively percussion ensemble

Curtains came down on this year’s “Thaalavadyotsava” with a special percussion ensemble by Laya Taranga. Combining well with Indian Traditional instruments (mridanga and ghata), Jazz drums and Hand Percussion instruments, the group created a different music world. 

Western parts in Karnatic instruments, Hindustani bols in Latin percussion instruments, Konakol etc. of Karnatic music – followed by Mohara-mukthaya. 

A precise and interesting ‘Thani’ using Metronom – all set to Adi Thala. It was the first effort of the young percussionists who performed well, though loud at times. 

Jayachandra Rao on mridanga, Ullur Giridhar Udupa on ghata, Arun Kumar on Jazz drums and Pramath Kiran on Hand percussions – performed with good understanding to make it a lively ensemble.

In the valedictory function of the Percussive Arts Centre, Thiruva-nanthapuram V. Surendran was conferred with ‘Mridangakala Shiromani’ title, Thiruchi J. Venkataraman with ‘Layakala Nipuna’, Seethalakshmi Venkateshan with ‘Sangeetha Kalabhigna’, M. Gururaj with ‘Layakala Prathibhamani’ and Mysore Radesh was conferred with CMANA Endowment Prize.

Aradhana Concerts

Another opportunity has come to connoisseurs to savour different types of cultural programmes, through the Aradhana celebrations of Sri Raghavendra Swamy. A number of religious and cultural organizations have organized religious and cultural programmes in different parts of Bangalore. One such organization Sri Raghavendra Seva Samithi, Sudhindra Nagara (Malleswaram), has arranged a 13 day festival with Music (vocal, veena, dasa vani), discourse and bhajan, which will conclude on 6th of August.

Pandith Gulbarga Gururaja Das, who gave a “Dasavani” recital on Friday, is a disciple of Krishna Das Murugodu, veteran vidwan and Haridasa. Gururaja Das has performed in not only Karnataka but also in Maharashtra, Andhra and Tamil Nadu and has been honoured by many organizations.

Gururaja Das in his Dasavani programme presented in Hindustani style, Kannada Devaranamas of different Haridasas. The customary invocatory piece gave him a head start.  He chose several padas of lesser known Haridasas and made the programme a very useful one. For instant ‘Raghavendra Gururayarendira Aradhisiro’ of Dore Shreesha Vittala (in raga Saranga) and ‘Bho Yathivarendra’ of Ananthadreesha (based on Mand). Blending his voice with sruti and rendition he sang ‘Baro Raghavendra Baro Devara Nidhiye’ of Jaganatha Dasaru. While ‘Raghavendra Teertha Bodhisu Bhagawatada Artha’ in Desh of Indiresha was pleasing. The other one by Shyama Sundara Dasaru “Pavamana Pidi Enna Kaiya” was rendered in the raga Bheempalas.

He presented compositions of Mohana Dasaru, Venkatavittala and few others, without hassles to make an impact. With his rich voice, traversing in all the 3 octaves with ease, his music was equally haunting for its lyrical appeal. Krishnamurthy on Harmonium, Gopalakrishnachar on Thabala, Raghothama on Dolak and Sudhanva on Thala – gave lively support.

Mysore V Subramanya

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