Music and dance reviews...

Music and dance reviews...

Delightful ensemble
On last Sunday morning at the Bharatiya Vidya Bhavan, connoisseurs of music had a different type of  experience, as they heard a big ensemble of “Pancha Vaadya Naada Vaibhava” where in everything was ‘Pancha’ or five. It consisted of five Angklungs, five string instruments (veena, gotu vadya, violin, edunga (of Uganda) and Krar (Ethiopia); songs in five languages from five states. It was followed by songs of five different countries - Afghanistan, Papua New Guinea, Indonesia, Ethiopia and Bhutan.

The concert opened with a composition (Panchamatanga, Dikshitar) on Ganapathi, customarily. It was followed by a popular pancharatna krithi ‘Endaro Mahanabhavulu’. It is not a rare composition, but was different to hear  from a eastern country  instrument called ‘Angklung’. Then ‘Bho Shambo’ in the raga Revathi. Five ragas consisting five swaras each.

Five Indian percussion instruments – mridanga, tabla, khanjari, ghata and morching – were joined by five African drums: waisted drum, barrel drum, long drum, cylindrical drums and goblet drum. The percussion ensemble led by B N Ramesh - of the rhythms of five countries - with ‘Pancha nade mukthaya’ was an additional attraction.

‘Pancha Vaadya Naada Vaibhava’ was conceived and successfully directed by Dr  H S Anasuya Kulkarni assisted by B N Ramesh. Prof Puthuraya explained the significance of ‘Pancha’ (five), in detail. The programme, jointly organised by the Bharatiya Vidya Bhavan and the Institute of Ethno Music, began with a grand  strike of Gong (from Indonesia) by Dr Narayan Kulkarni. Kudos to Dr Anasuya Kulkarni, it was a delightful instrumental ensemble.

Pleasing vocal
Kametch (Kamas) is one of  the evocative ragas and a favourite of both musicians and connoisseurs always. It belongs to  the 28th mela and there are many popular compositions in this raga. Prof  T S Rama, senior vocalist, rendered Kamatch with lilting sangathies, which stood out for the graceful cadences.

Earlier, “Vandisuvudu Aadiyali” gave her a sprightly start and a infrequent kruthi of saint Tyagaraja “Evarikai” in a attractive raga Devamanohari. Hemavathi, the 58th mela, became popular during the post Trinity period. After a brief alapana, Rama chose “Ninnu Juchi”, and rendered with nerval (Parama Dayalu Ninne) and swara, neatly. It was scholarly and melodious. She was well supported by Nalina Mohan on violin and B C. Manjunath on mridanga.

A shaky start
Kashi Vishalakshi, a senior veena player, is a disciple of C Krishnamurthy and a ‘A-Top’ grade artiste of Akashavani. In her current concert for the Kala Premi Foundation, she opened her programme with a fine swarajathi in the raga Kambodhi.

Unusually it was a shaky start, but the familiar ‘Gajanana Rahitam’ was in a better shape. By the time she chose “Rama Ninnu” in Anandabhairavi, she settled down.

The alap of Dharmavati  and crisp thana were full of glowing phrases, the meaningful stasis in the delineation of the composition (Ninna Nambidino of Swaramurthy V N Rao) adding to its convincing imagery.

She concluded with a fine thillana in the raga Kaanada. B C Manjunath and S Srishyla on mridanga and ghata respectively, accompanied  with good understanding.

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