For a cause
GUDIPOODI SRIHARI
|
Rendering a big service to the cause of classicism.
|
Seshadri's concert appeal purely for his ability to add his qualities of a good teacher into his singing
Komanduri Seshadri
Laya, launched a few years ago with the aim of promoting classical music, has already made a mark on the music field. The man behind the show is mridangam player D. S. R. Murthy. Last week, the function was held at Bagh Amberpet. The principal attraction of the evening was the concert given by vocalist-violinist and musicologist, Komanduri Seshadri.
The musical evening began with a concert by P Sarada Ramakrishna Rao. She gained momentum with Varavallabha in Hamsadhwani, which was a pleasing rendition. Her concert's specialty was that she came out with rare melodies like Kokilavarali (Samukhana Nilva) and another rare one Bhoga Vasantham (Amba Raja Rajeswari). Both were impressive. However, raga Kapi was her main melody for expansion for Neevalla Gunadosha. She took good time to essay the raga to impress.
There was also Thodi, also as her choice, to entertain us with. The choice composition to present in this raga was Thyagaraja's Ninu Vina Sukhamu. Sarada's concert proved that she is an artiste of good imagination and also gifted with impressive vocal strength.
Pavan Singh on violin and Shyam Kumar on mridangam gave good support to her. Seshadri's concert always makes a special appeal purely for his ability to add his qualities of a good teacher too into what his singing, so that listeners enjoy it better. On this occasion he was in the company of R. Dinakar on violin and Arvind on mridangam. Mysore Vasudevachar's Ranjani piece Pranamamyaham was the opening number of Seshadri that also served the role of an invocation to God.
Impressive performance
He then rendered `Rama Neepai' in Kedaram, with feeling and expression. His hindolam for Deekshitar's Govardhana Gireesam was again a sweet rendition. There was melodious Bhogindra Sayinam in Kuntalavarali, which was enjoyable. It was time to take up a melody for expansion. Bhavapriya ragam was his choice. His delineation was a disciplined exercise that made the audience enjoy the raga in its different phases of presentation. He chose Thyagaraja's `Srikanta Neeyeda' a composition asserting Bhakti on the God and the sahitya impact was further heightened with an in-depth nereval, which is also known as Sahitya Prasthara.
The swaraprasthara was indeed scholarly. A Sloka in Ragamalika and the Surati piece `Seethapatiki Harati' concluded his vocal show. Chief guest K.S. R. Balakrishna Sastry, a vocalist himself, felicitated the artiste.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
