Creative forays
Nada Kishorotsava-2006 under the aegis of Sri Nadabrahma Sangeetha Sabha was an indicator of the abundant talent of youngsters. Naming the "raga and composer" at the beginning of each composition were beneficial to learners as well as the audience to understand the concerts much better, particularly in instrumental music concerts. Every artiste came duly prepared for the concert and their performance without on-the-spot reference to their scripts was the hallmarks of the concerts. Majority of the participants hailed from Chennai, Bangalore and Mysore including the accompanists.
Vasudha Ravi from Chennai started her concert with a varna in raga Bahudari (composition of Lalgudi G. Jayaraman) followed by "Vighnaraja Sri Vinayaka" in an auspicious raga Shudda Dhanyasi. Creativity of "svarakalpana" and rhythmical intricate "talagathis" marked the brilliance of the artiste's imaginative sanchari in holding the svara-stayi at the appropriate stayi-bahavas.
"Srikara Rahuvara" of Patnam Subramanya Iyer and "Sattaleni-Dinamu" of Sri Tyagaraja depicting the characteristics of Kaliyuga in raga Naganandini were dexterous with impressive modulations of raga-bhava. Raga Mohana with the appealing composition of Sri Tyagaraja combined with an impressive neraval at the concluding charana ("Mangalakara") was the pinnacle of the concert, well ornamented with tri-stayi sanchari of artistic svara-kalpana. The earlier concert by Manasa Nayana from Mysore beginning with Dikshitar's "Panchamatanga" in raga Malahari followed by dasa sahitya "Manavajanma Doddadu" and "Kamalaptakula" of Sri Tyagaraja in raga Brindavana Saranga were well rendered. Concluding with a tillana of Lalgudi G. Jayaraman, the support on violin by Adithi K. Prasad and mridanga by P.S. Sridhar were adequate.
***Mrs Vasuda Ravi from Chennai studying for Nutrition Dietetics and Food Service Management, started her concert with a varnam in raga Bahudari followed by "Vignaraja Sri Vinayaka" in auspicious Shudda Dhanyasi. Creativity of svarakalpana and rhythmical intricacy of talagathies marked the brilliance of the artiste's imagination.
Srikara Rahuvara of Patnam Subramanya Iyer and Sattaleni-Dinamu of Sri Tyagaraja depicting the characteristics of Kaliyuga in raga Naganandini were dexterous with impressive modulations of raga-bhava. Raga Mohana with the appealing composition of Sri Tyagaraja, challenging Sri Rama combined with impressive neraval at the concluding charana ("Mangalakara") was the pinnacle of the concert, well ornamented with tri-stayi sanchari. The earlier concert by Manasa Nayana from Mysore beginning with Dixitar's "Panchamatanga" in raga malahari. followed by dasa sahitya Manavajanma doddadu" and Kamalaptakula of Sri Tyagaraja in raga "brindavana Saranga ' were well rendered. Nevertheless delineation of raga "bhairavi" (Tanayuni Brova of Sri Tyagaraja) was impressive. Concluding with tillana of Lalgudi G Jayaraman, the support on violin by Adithi K Prasad and mridangam by P.S. Sridhar were adequate.
B.S.S. RAO
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