A music-dance treat
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The Andhra Music Academy's annual festival had a fair share of young and veteran artistes performing to the connoisseurs' delight.
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ANDHRA MUSIC Academy, launched five years ago on the lines of the Madras Music Academy, celebrated its fifth annual festival at Ravindra Bharati .
The Speaker of the Legislative Assembly, K.R. Suresh Reddy, inaugurated the music festival. The major concerts on the inaugural evening were that of flautist Prapancham Sitaram and that of scholar, musician and musicologist Nookala Chinna Satyanarayana. Sitaram opened the recital in the company of Kokkonda Subrahmanaya Sarma on violin, Lakshminarayana Raju on mridangam and Jayakumaracharya on morsing. After `Nadaloludai' in `Kalyanavasantham' he took up `Bilahari' for an extensive presentation. It shaped up well. He played `Paridanamichite' in it. Of the rest, the `Ananda Bhairavi' number `Mari vere' and Puranadaradasa's `Dayamado' in `Kalyani' were interesting. A `Khamas' number and another in `Madhyamavati' closed his show.
Special style
Nookala, who followed, opened his concert with an auspicious `Ranganadhude' in Sourashtra, which he generally renders with `special flavour'. By the end of it he settled well and the mike, which was set in low tone, was adjusted projecting his booming voice to its original strength.
He then detailed the raga `Chandrajyothi' with its intricate moves. The popular kirtana in this - `Bagayanayya' was rendered expressively.
The `swaraprasthara' he did in this was quite imaginative. He too came out with that sweet melody `Ananda Bhairavi' but chose `Himachala Tanaye' an attractive composition. Of late he appeared to have made it a point to give a `brief' about some of intricacies in music and `kirtanas'. Accordingly he explained about the raga briefly.
The next composition, `Ne Pogadakunte' in `Varali' became the principal attraction of his concert.
He presented an intricate Tani and and did a scholarly swarakalpana displaying his skills of creativity. A Tarangam in `Behag' concluded his show. He was accompanied by Dwaram Satyanarayana Rao on violin, Vankayala Venkataramana on mridangam and Jayakumaracharya on morsing.
Young talent
It was quite pleasant to watch young talent coming out with brief recitals. There were also chorus renditions by Vardhini and her disciples. Up and coming vocalist Varanasi Sri Sowmya marked her brief recital with a major number `Bilahari' for `Dorakuna'. Then appeared another teenage talent Sai Kartikeya, disciple of N.S. Srinivasan. Of the numbers he rendered in the limited time `Nejesina neramulu' in `Poornachandrika, `Sarikisari cheppajalanu' in `Begada' and `Saramela' in `Behag' were impressive . Peri Thyagaraju also a youngster playing violin , matched to the vocalist's imagination. The main attraction of the morning session was the veena recital by Ayyagari Shyamsundar, a Vijayawada based artiste. The evening session began with a veena recital by Meduri Srinivas. He presented `Kalyani' (`Etavunara') as his main melody of the evening.
The `Saveri varnam' he began with warmed him up well to go for a couple of other numbers with ease and excellence.
He played the popular kriti in `Kalyani' with the expressive touch of a vocalist.
He proved strong even in the technical side of his concert. Then appeared P.V.S. Seshayya Sastry, principal of the Government College of music, Vizanagaram, in a pleasing vocal concert.
He has a voice that has slight nasal touch that adds to his melodic output.
His rendition of `Gopalaka Pahimam' in `Revagupti', gave special appeal to his concert. `Ganamurte' in `Ganamurthy' and `Bhajare' in `Kannada' built congenial atmosphere for the take off of `Kalyani' for `Birana Varalichi'.
This piece with impressive swarakalpana eventually turned out to be the major attraction of his concert. D.V. Durga Bhavani of Vijayawada on violin, D.S.R. Murthy on mridangam and Ramanamurthy on ghatam gave a balanced support.
From Karnataka
The star attraction of the evening was vocalist from Karnataka - Mysore Nagamani Srinath. She is the disciple of Ramanad Krishnan and a specialist in composing Tillanas, one of which she rendered here to a receptive audience .
She has a charming voice, which is rich. Above all she has a good tonal compass that she exhibited in a couple of numbers.
She began with `Manasuloni Marmamu' in `Hindolam'. The highlight was her essay of `Kambhoji' for a rare composition in `Kannada', `Kadha Kanchu Kadani' for which she took good time to build the right emotion.
However the delineation of `Latangi' stood out as the best in which she revealed her vocal range.
Lilting santoor
A santoor vadan by Kolkata based santoor player, Sandeep Chaterji with Pintu Das on tabla and then Carnatic vocal recital by Hyderabad Brothers served as a treat for the audience on the third day of the festival. Sandeep played `Keeravani' in detail and added the forceful `jod' and `jhala' in `drut' part. He then came out with a small composition, which he dedicated to Tsunami victims.
It was the turn of Hyderabad brothers D. Seshachari and Raghvachari to present the vocal duet.
They were in the company of Peri Srirama Murthy on violin, D. S. R. Murthy on mridangam and Nemani on Kanjeera. After `Samayamide Nanu brova' in `Kedara Gowla', `Kamakshi' a `Swarajati' in `Bhairavi' was a fine rendition.
`Manasa etulortune' in `malayamarutam' and `swaraprasthara' in it were attractive.
The brothers treated `Gowla' as their main effort of the evening. Peri Srirama Murthy lent an intelligent support with skilful play and elevated the general appeal. Tani by the percussionists was brief but good.
GUDIPOODI SRIHARI
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