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Aesthetic expression of manodharma

A. RAMALINGA SASTRY

The 39th annual festival of music and dance of Visakha Music Academy was a treat of classicism.

Photos: C.V. Subrahmanyam

Cultural vignettes Padmini and Madhuri Devi

Honouring and conferment of the title ‘Sangeeta Kalasagara’ of the Visakha Music Academy on the vocal maestro, Sangeeta Kalanidhi R. Vedavalli (Chennai) marked the beginning of the 39th annual festival of music and dance of the academy recently. Later, a recital by her in the able company of Charumathi Ramanujam on violin (Bangalore), P. Satishkumar on mridangam (Chennai) and Sukanya Ramagopal on ghatam (Bangalore) turned out to be a treat of classicism. The aalapana in Ragamalika starting with Keeravani (main) followed by Naata, Reethigoula and Begada followed by a Pallavi Mandahaasa Vadani Geervani Devi Mudam Dehi in Keeravani in Khanda Triputa took all into realms of ecstatic joy. It concluded on a splendid note with kalpanaswaram with shifts into Athana, Varali, Sriranjani, Sama and Behag first and in the reverse order next. No wonder, it remained the piece de resistance not only of the evening but also of the entire festival.

Also commendable were Charumati on violin, Satish on mridangam and Sukanya on ghatam both while following the main artiste and also manifesting exquisite expression of manodharma in their turns, the thani in particular.



Mandolin duo U.P. Raju and Nagamani

Thanks to the efforts put in by the director of the local chapter of SPICMACAY, S. Vijayakumar, NSTL director’s wife Lalitha along with its principal associate director S.V. Rangarajan, Vedavalli gave a lecture on various aspects of evolution and exposition of Carnatic music the next morning. Held under the aegis of SPICMACAY at the Manasi Auditorium of the National Laboratory especially for the pupils of its school, it attracted many a connoisseur of music of the city as well.

Explaining differences between fundamental aspects like a musical scale and a raga besides gamaka and so on, she also demonstrated how to bring out the real form of a raga and elaborate its bhava. She took up ragas like Mohana, Sankarabharanam, Kalyani and rendered a few lines of some compositions of different Vaggeyakaras in the ragas.



Vedavalli.

Kokkanda Subrahmanya Sarma on violin and G. Venkatarao on mridangam lent excellent support. Veena recital by local artistes Ramavarapu Madhuri Devi and T. Padmini in the company of P. Satishkumar on mridangam and S. Hanumantharao on ghatam (TP Gudem) which went euphonious all the way marked the next evening of the festival. Expansive expatiation of Mamava Meenakshi (Varali), delineation of the raga by Madhuri in particular; ragam tanam pallavi in Keeravani with swaram in ragamalika (Mohanakalyani, Bindumalini, Kaanada and Rasikapriya) were the highlights.

The most evocative and euphonic recital rendered by the renowned Mandolin duo, U.P. Raju and his wife Nagamani, well accompanied on thavil by K. Sekhar and ghatam by Trichy Murali (all from Chennai) marked the splendid finale of the music part of the festival. Elaboration of Bhajana Seya (Dharmavathi) and expansive expatiation of Kaapali (Mohana) besides playing of compositions in rarely heard ragas like Niroshta and Gambheeranata were the highlights.

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