Electrifying performance
An unfathomable manodharma, extraordinary skills in the meticulous execution of that musical imagination, admirable hold over the medium and mode, artistic concert craft, exploration of the technical dimensions, commendable mastery over laya et al account for a successful and effective music concert.
Two instrumental recitals held at Sri Shankara Math, Shankarapuram and Sri Vidya auditorium, Banashankari respectively testified to the above observations.
Rudrapatna Keshavamurthy Prakash who hails from a family of traditional vainikas was in top form, handling his veena in a fabulous manner.
He manoeuvred the instrument to produce even minute details with clarity. He clothed his traditional style of veena playing with a novelty in approach.
Variety in meettus, electrifying movements of the left hand fingers, ability of transcending tristhayis in a fraction of a second leading to the creation of a kaleidoscope of the ragas, and made Prakash's concert a delight.
Accompanied dexterously by C. Cheluvaraju (mridanga) and Dayananda Mohithe (ghata), Prakash took off with the evergreen Bhairavi ata tala varna.
There was no stopping him after that. The most familiar krithi "Vatapi Ganapathim" (Hamsadhwani) had a detailed delineation. It was packed with endless phrases.
Though one felt that it was overdone, the glowing form of the raga was delightful.
The use of the adjacent strings simultaneously and the attachment of chittaiswaras and kalpana swaras further provided proof of his expertise.
The veena vibrated in the elaborately rendered "Endaro Mahanubhavulu" (Sri).
* * * * *
Young and seasoned violinist H. K. Venkataram was honoured with a title of "Sathya Sri" in memory of the upcoming violinist Mulabagilu A. V. Sathyanarayana whose untimely death two years ago shook the music world. Sathyanarayana's parents and well-wishers under the banner of Sri Vani Sangeetha Vidyalaya have regularly been conducting music programmes and awarding this title annually, to cherish the memory of the departed violinist.
After receiving the award, Venkataram displayed his remarkable control over the violin. His bowing and fingering techniques made the sound of the violin vivacious and vibrant.
Though it sounded somewhat metallic in the lower registers (mandra sthayi) he could coax the instrument to highlight the nuances of Carnatic music. Artistically accompanied by Tumkur B. Ravishankar (mridanga), N. Amrith (khanjira) and M. A. Krishnamurthy (ghata) Venkataram scored well in the swara-vinyasa attached "Siddhi vinayakam" (Shanmukhapriya).
The piece-de-resistance of the recital was the raga, tana and pallavi ("Raja maatangi paavani paripoorini prakashini manonmani") in Todi set to khanda triputa tala. The tanamalika comprised the familiar lines drawn from the Pancharathna krithis in Nata, Arabhi and Sri ragas. The pallavi line was manipulated in different kalas and nadais annexed with swaras in Begade, Ranjani, Suruti, Behag and Sahana ragas. "Jagodadharana" and Dhanasri tillana provided the fitting finale.
M. SURYA PRASAD
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