Thyagaraja aradhana held
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Yella Venkateswara Rao led the Pancharathna kirtana group of two-dozen artistes with utmost reverence.
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TIMING WITH the `aradhana' season of Thyagaraja, Sujanaranjani of Sanathnagar held a one-day event under the direction of renowned `mridangist' Yella Venkateswra Rao, here on Sunday.
The programme extended till late into the night. Yella led the `pancharatna kirtana' group of two dozen artistes, including Seshulatha, Padma, Seshumani, Vasa Gopinatha Raoand others, who rendered the kirtanas with utmost reverence.
Pleasant experience
The Carnatic vocal recital by Lalitha Madhav, disciple of M. S. Balasubrahmanya Sarma, was the highlight of the show. Lalitha is a graded artiste of AIR, with a proven track record.
She rendered her very first number `Sasivadana' in `Chandra Jyothi', a pleasant experience to hear.
She then sang another popular number of Thyagaraja, `Nadatanumanisam' in `Chittaranjani', and rendered it with `sahityabhava'. The main melody of her concert was `Mohana'. She expanded it with ease and came up with delectable variations. `Evarura Ninivina' with `Swaraprasthara' was well received. `Sobhane', an `utsava sampradaya kirtana' in `Panthuvarali' and then `Nagumomugalavaan' in `Madhyamavati' concluded the concert. K. V. Krishna on violin and Burra Sriram on `mridangam' supported her well. Among the individuals who rendered a `kirtana' of Thyagaraja each, were septuagenarian Kondapalli Sitaramayya of Vijayawada, who rendered `Undedi Ramudokade' in `Harikambhoji'. Vyzersi Balasubrahmanyam (Talachinantha - Mukhari), K.V.Krishna (`Upacharamu - Bhairavi'), P.V.Subba Rao (`Sudha Madhurya Bhashana' - `Sindhunamakriya'). Violinists Umasankar and Kondapalli Srinivas; percussionists Kapa Srinivsa Rao, Srinivasa Gopalan, Raghavendra Prasad and Pulletikurthi Ramanamurthy, also played in various concerts.
A number of young musicians also gathered for the significant event.
Carnatic songs on CD
Noted Carnatic vocalist, Mohankrishna, who always reminds of his guru, Balamuralikrishna's, style and intonation in his recitals, recently revealed another facet of his talent.
Sailing with the changing times, Mohankrishna created an encyclopaedia of Carnatic music comprising over 400 songs into CDs. He also made provisions to play musical scales on an inbuilt casio. The renditions were also accompanied by grammar and other technical formats of this science of music.
Despite suffering from partial blindness, he once again gave a taste of his gifted music sense, in his concert presented at Ravindra Bharati as part of a programme titled `Sangeetha sandhya'; as prelude to the release of three CD-ROMs of classical carnatic music, with Mohanakrishna's voice and Dr. G.Prasada Rao's technical .input.
Four hundred songs recorded
The software contains about hundred hours of vocal recording of Mohanakrishna covering as many popular ragas, together with scales and musical grammar; along with an inbuilt musical keyboard for learning many more features. Dr.C. Narayana Reddy and Director K.Viswanath released the set. . The CDs were demonstrated briefly in front of the audience.
The programme began with an invocation composed by Balamuralikrishna, paying obeisance to Lord Vinayaka, Lord Anjaneya and Lord Sri Krishna, through different lyrical lines.
The `Pallavi' was on Vinayaka and `Anupallavi' on Anjaneya. There was a speed variation too in rendering the `pallavi' in lower speed and `anupallavi' in higher speed. This approach was applied alternately to the rest of the `charanas.'
It was a rarely heard piece with a novel approach. This was set in `Arabhi'. Then, Mohanakrishna went for `Hamir Kalyani' and gave a pleasant picture of the `raga' before he sang Kuppuswami Iyer's composition `Radaa Naameeda Dayaleda' in `Rupaka Talam.
Another experiment Mohanakrishna did was to have four of his female disciples, sit behind him and and sing in chorus the `Pallavi' part.
They also joined him in the rendition of chosen `charanas'. It sounded .a well intended change from the routine. But such changes were suitable for certain compositions only.
Then came the wonderful presentation of popular `Abheri' piece `Nagumomu'. If you close your eyes and just listen to it, you feel Balamurali was rendering it. The `ragam' was well expanded with all the familiar twists and high-speed `birkas'. It was treat to listen to the `kriti' parts that were melodious and pleasant as well. `Swarakalpana' by itself was enjoyable. He ended with a `Surati' composition. Gudipoodi Srihari
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