Vainikas enthral
|
The success of the veena festival indicated the growing interest in instrumental music.
|
THE SANGEETHA Ksheerasagara Sabha held a three-day `veena' festival at Sri Thyagaraya Ganasabha, last week, featuring two `veena' concerts on each day. Noted ,vainikas', some hailing from traditional families like Vasa, took part in the festival.One could listen to two distinct styles of Vasa and Emani. The festival was well attended. Especially on the last day, there were people, who due to lack of seats did not mind standing for hours to enjoy the recitals, an indication of growing interest among people for instrumental music.
The festival opened with the `veena' recital of Bandi Syamala Balasubrahmanyam, a senior artiste, with assistance on the second `veena' from her sister, C. V Subbalakshmi. The sisters, hail from a family of `veena' players and learnt under their father, Suryanarayana. The main attraction in this recital was Kalyani with "ragam and tanam" and Subbaraya Sastry's `ninuvina gatigana' accompanied with `nereval and swaram.' They opened the concert with `Gajananayutham' in `Vedavahini' of Deekshitar. `Sandhinchene' in `Arbhi,' a panchartna keertana of Thyagaraja was the best number. `Akhilandeswari' of Deekshitar, too was impressive. G. Ramachandran on `mridangam' and V. Sridharachari on `ghatam' lent support.
Sitaramaiah dazzles
The next recital on that day was that of Duddu Sitaramayya. Sitaramaiah is also a descendent of veena players. `Upacharamulanu'in `Bhairavi,' `adi thalam'and `nanamosaga' were the main attractions in Sitaramaiah's recital. He played the next number `Jaganmohini,' keeping his `veena' , in a vertical position, a style that `vainikas' of earlier period used to adopt. `Entamuddo Entasogaso'in `Bindumalini' was another notable number. The same accompanists lent support to this `vainika' too.
On the second day, Komanduri Venkata Anantasayanam of Guntur, a senior `vidwan', began with a swarajati - `Kamakshi' in `Bhairavi' and the following `Manasa Yetulortune' in `Malayamarutham' was a pleasing offering. The showpiece was `Vallinayakane' in `Shanumukhapriya' of Muthaiah Bhagavartar, a rare number. `Nadaloludai' in `Kalyana Vasantham,' in which `tanam' was also presented and another `sahana' piece were notable numbers from him.
Vandana's virtuosity
Later, J. Yoga Vandana, of Bangalore came out with a delightful display of her virtuosi skills especially in playing specific numbers like `Neevalla Gunadoshamemi' in `Kapi' and `Paramatmudu Velige' in `Vagadheeswari,' `Anagarakamasrayamia' in `Surati' of Deekshitar. Mohana piece, `Evarura Ninuvina' and `Needumahima' in `Hamsanandi' drew good response. K. Krishna prasad on `mridangam' and B.L. Narasimham on `ghatam' accompanied her,
Kaja Subhashini Sastry gave the first concert on the last day. She is the disciple of late Vasa Krishnamurthy and also learned from Emani Sankara Sastry. Her concert has the former's vigour and latter's scholarship. An A- graded artiste of AIR, Subhashini had already appeared in AIR's Sangeeth Sammelan national programs. Subhashini began with a pleasant `Sarasirujasana Priye' in `Nata' and then played `Nadaloludai' in Kalyana Vasantam, with good elaboration of raga and `Nanupalimpa' in `Mohana' impressively.
Main attraction
Then came the essay of rare `Dharmavathi' followed by presentation of `tanam' and `krithi' `Bhajana Seya Rada' of Mysore Vasudevachar. This proved to be the main attraction. `Jagadoddharana' in `Kapi' and a Tulasidas Bhajan, were notable numbers, she played in the latter part. P.V.Ramanamurthy on `mridangam' and B.Janardan on `ghatam' followed her.
Ananda Rajyalakshmi who followed next is also the student of Vasa Krishnamurthy . Her performance has that touch of Vasa 'bani' (style). She is quite innovative; and ventured into giving touches of western music when the scale is common. Rajyalakshmi made a brisk beginning playing `Raghunayaka' in `Hamsadhwani' and `Pavana Guru' in `Hamsanandi'. The `Bahudari' piece, `Brovabharama' was a neat offering presentation getting the mood of the `kriti' in her play with expressive touches. `Neekela Dayaradu' in `Sarasangi' elicited good response. `Manasuloni Marmamu' in `Hindolam' and `Manavi Alakincha' in `Nalinakanthi' drew good applause before she took up the main essay `Kalyani'. She presented it elaborately and created a soothing atmosphere. Her choice was `Needu Charana Pankajamule' with appropriate `swaras,' that were a treat. The same accompanists of the earlier programme followed this concert too.
GUDIPOODI SRIHARI
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
