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News & Events Review
M.H.rajaRao Memorial Concert 29.4.18

Sparkling brighas and intricate sangatis

Madhu Kashyap from Bangalore presented a Karnatak concert at Nadabrahma Sangeeta Sabha on the 28th of April with Vitthala Rangan on violin, Adamya on mrdangam and Kartik on ghatam.

Driven by his passion for pursuing music, Madhu has forsaken his career as an IT professional and is now a full-time musician. He is also the recipient of the ‘NAdakishora’ award in 2014.

The concert was set with an energetic beginning with a rare varna of Bellari Sheshagiri Achar in Poorvikalyani.  ‘Shree Maha GaNapate Shree VallabhApate’ in Abhogi by N.S.Ramachandran is a composition  seldom sung/played by musicians. The unhurried pace in which the vocalist rendered this  and the next number in Mohana vouched for his practice.  ‘Mohana Rama’ by Tyagaraja proved how a common raga becomes the true test of genius in the hands of a seasoned musician, though the composition lacked bhAva due to too much of technicality at times and lack of importance to Sahitya. ‘ShEshachala Nayakam’ by Deekshitar in VaraLi was rendered in the speed not becoming the mood of the composition but the neraval and swaras at ‘Aravinda Patra nayanam’ were bewitching.

The fillers ‘Nee Bhajana gAna rasikula’ by TyAgaraja in Nayaki and the very popular  ‘Marugelara Oh Raghava’ in Jayantashree also by Tyagaraja were good choices.

The chosen raga for the RTP taken at 8 PM, was Mishra Jog. Though not a  raga commonly chosen for RTP, Madhu treated it with delight. Madhu had set his pallavi ‘Shree Rama Jaya Rama’ in Trishra Jhampe tALA in Mishra Nade. An equally competent Vitthala also heralded repeated applause. Adamya enhanced the beauty of the compositions with his understanding of the text and KArtik did well in the taniyavartanam in addition to providing suitable support throughout the concert.

The artiste’s enthusiasm is appreciative but if a vocalist plans for an RTP, he should also plan to take it up by 7.15 latest so as to do justice to its detailed rendition. By doing this he will also give himself a quarter of an hour for the lighter numbers always looked for by the audience.

                                                                                                                                Dr Padmavathi Narasimhan.

Monthly Concert for April 2018 28.4.18

An evening with auspicious instruments

Sri Nadabrahma Sangeeta Sabha, Mysore arranged two concerts of one and a half hours each on the 28th of this month. The first one was a nadaswaram concert by two brothers from Mysore- Rajesh and Manju. They were accompanied by Puneet and Madeva onTavil and Shashank extended  tALa support to the concert. This concert and the next –A clarinet recital by Mohan- had two messages to convey- that instruments like nadaswaram which are reduced to playing only for occasions like family weddings or at temples should be given a concert platform, wherein the artistes gratefully exhibit their talent and secondly local artistes should be given opportunities by reputed local music organizations.

The very tone of Nadaswaram brings a feeling of jollity, auspiciousness and excitement. A traditional classical instrument, Nadaswaram is a double reed wind instrument played in the south part of India.  Normally played in pairs, this auspicious instrument has a range of two and a half octaves. Tiruvavadu durai Rajaratnam Pillai, Sheik Chinna Moulana and Bangalore Ramadasappa are some of the greatest nadaswaramists of South India. The brothers offered many compositions in the allotted time- to mention a few- ‘Bhaja Manasa Vighneshwaram’ by Tullasivanam, a rarely heard kriti, ‘Padhavi nee’ in Salaga Bhairavi by Tyagaraja,  and ‘Ninne Nammitinayya’ by Mysore Vasudevachar in Simhendra Madhyama set to Mishra Chapu tALA, which was taken as the main item of the evening. The raga was detailed by the elder of the two and the composition was decorated with a neraval and swaras at the usual ‘Pannagendra Shayana’, wherein the younger artiste faltered a couple of times. A mention must be made of the way in which this tALA is to be indicated. The name ‘ChApu’ meaning stamping is derived from the post office wherein stamping is done with sound. And therefore it is meaningful to indicate this tALA with the ‘GhAta’ for all the three times for the first, fourth and sixth beats. While it is common to see many musicians indicating this tALA with the first beat with the palm upward, the brothers indicated this tALA with the sixth beat upward, which is not permissible. A very energetic taniyavartanam followed by Puneet and Madeva. ‘SAmAnyavalla Shri Hariya sEve’ in Charukeshi is a pleasing devaranama and it was good to see that the brothers prefixed it with a delightful alapaNa. The concert came to a close with Lalgudi JAyaraman’s tillana.

The second concert was by the well-known clarinet artiste of the city Mohan. He was accompanied by C.N.TYagarajan on violin, Radhesha on mrdangam and V.S.Ramesh on ghatam. It was heartening to see all top local artistes performing together on stage.

Clarinet is a western instrument with a single reed mouthpiece and a good pitch range. While it is not easy to adapt a western instrument for Karnatik music, Mohan has successfully practiced this instrument with dedication and commitment producing pure classical music.

Mohan had chosen quite a few compositions for the concert. The opening number ‘Siddhi Vinayakam Anisham’ in Shanmukha Priya by Deekshitar offered obeisance to Lord Ganapati with swaras developed for the pallavi. ‘Nannu Brochutaku’ by Mysuru Vasudevachar in Shankarabharana is a composition rarely sung or played. The chitteswara shows the influence of western music on Acharya. Mohan and his team provided liveliness to the composition. ‘Appa rAma Bhakti yento’ by TYagaraja in Kamavardhini in Rupaka tALa was agood contrast to the next main item in Hemavati. The alapana of Hemavati was delivered with impressive phrases and brigas made for the instrument. Tyagarajan’s version of the raga was equally absorbing. Another majestic composition of Deekshitar ‘ ShreekAntimatim Shankara Yuvatim’ in viLamba Adi was presented with the pace and refinement it requires. Mohan reached the Ati tAra shadja note in this and the previous AlapaNas. Shruti was atune and serene throughout the concert.  Radhesha and Ramesh gave adequate support to the concert. Both these concerts concluded with a LAlgudi tillana.

                                                                                                                Dr Padmavathi Narasimhan. 

MJS Birthday Memorial concertsVeenaGana Sambrhama 26 & 27th May 2018

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qÁ. gÀªÀiÁ « ¨ÉtÆÚgï

Smt.Indiradevi Praphullachandra Memorial concert on 11.3.18

Smt Indiradevi Praphullachandra Memorial concert on 11.3.18 was presented by the versatile multifaceted artiste M.D.Pallavi through her Hindustani Vocal concert.Pallavi whohas a as versatile a voice asher versatile talents can sing at any octave comfortably.But on the day she was more on high octave. she started with a khyal in Madhumad Sarang which was well received settling her voice.Then she sang a Bandish in Hamsaadwani to continue with another Bandish in Desh.The programme was a Hindustani classical in the first half to Continue with light classicals in the second half.Accordingly she sang Basavanna's Vachana Madakeya Maduvade in Charukesi .Next was Muyyinolage by Ningamma in Basanth Bahar.The next one was popular Tarkka Bindige,but she sang in Raga Khambavati.Then was the very popular in light music circles Amma Nanu in Desh which is the Kannada Version of Surdas's Mai Naahi Maakhan Khayo.contrary to the audience expectations for few more Vachanas she took up a Bandish in Raag Bahar. She concluded with AkkaMahadevi's Bittenendare Bidadi Maye in Raag Bhatiyar.She was well supported by Gurumurthy Vaidya on Tabla and Rohith Bharadwaj on Harmonium. The endowment is instituted by Sri Veerappa .Praphullachandra.

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