Smooth transition of ragas and bhavas

BANGALORE: A scintillating and stimulating pallavi in a rare and tricky Priyadarshini raga was the high water mark of young and highly talented vocalist S.Saketaraman, a prized-disciple of vet

Published: 20th April 2012 10:45 PM  |   Last Updated: 16th May 2012 07:39 PM   |  A+A-

1-SMOOTH

BANGALORE: A scintillating and stimulating pallavi in a rare and tricky Priyadarshini raga was the high water mark of young and highly talented vocalist S.Saketaraman, a prized-disciple of veteran violinist Lalgudi Jayaraman. He sang at the Seshadripuram College Auditorium for Sri Seshadripuram Ramaseva Samiti during its 64th Sri Ramanavami music festival. The tri-sthayi span ragalapana in Priyadarshini (a derivative of Keeravani) was followed by art-warming neraval and an intricate pallavi ‘Raghuramam Yadunatham bhakta chandanam sadaa bhaje sadaambujam’ set to sankeerna trishra triputa tala. This was exploited in variations in kaala and gatis. The melodious and scholarly pallavi was attached with a ragamalika swaraprastara. The parameters of the three ragas---Ahiri, Shahana and Brindavanasaranga--were fully explored, the transition from one to the other, both ways, was remarkably smooth with perfect raga and swara alignment. They had a perfect blend of harmony and rhythm. The percussion accompanists were provided with a second laya vinyasa in which all of them shone forth.

Efficiently and effectively supported by H.K.Venkataram(violin), H.S.Sudheendra (mridanga) and Narayana murthy (ghata), Saketaraman opened with a varna in Darbar raga. His animated version of Khamach (‘Seethapathe’, with kalpanaswaras) and a grand Hindola (for Arunachala Kavi’s ‘Ramanekamannan’)  in a mellow and impressive voice and unhurried presentation and the swara enunciations that followed were a marvel of musical excellence. His voice modulations and grip over laya were amazing. Using janti, daatu varsais and sarvalaghu patterns profusely, he beautified the ragas. Even the small details, be it laya or swara, were well taken care of. ‘Nambi kettavarillavo’ in Kalyani with neraval at ‘Garuda gamana’ and swaras was hearty. His grahabedha(shruthibedha) from rishabha to rishabha creating Mohana raga and the patterns like rimaga, madama, danida etc, tickled the ears. A brief tani was useful.

Tonal value

Veteran singer Dr.Vidyabhushana was his usual self when he sang at Sri Avani Shringeri Shankara Mutt during the 47th birthday celebrations of the Mutt’s head Sri Abhinava Vidyashankara Bharati. The merging of bhava, melody and rhythm in his singing was rewarding. Backed up by an experienced Govindaswamy(violin), Sudheendra(mridanga) and Srishyla(ghata), a Ugabhoga in Kambhoji and ‘Lambodaramavalambe’ set the pace for his programme characterised by tonal value and classical flavour. He switched over to Gambheera Nata(‘Girijaramana’, with swaras), Kanakadasas’s ‘Varava kodu Vagdevi’ (with a Ugabhoga ‘Chaturvadanana’), ‘Daari yavudayya’(neraval at ‘Innu naa janisalare’)  clearly defined the warps and woofs of the ragas in their elegant sancharas. ‘Nagumomu'(Abheri) came off in rapturous colours with neraval and swaras on ‘jagamella’ line flowing in unconstrained fluency. ‘Pillamgoviya’(Mohana) and other devaranamas were sung with abiding feeling. He delighted the audience by singing some of their request-songs.

Sweet and melodious

A child prodigy blossoming out like a genius vocalist Dhanjanjaya Hegde, trained by his mother Geetha Hegde, father G.S.Hegde and noted vocalist Pt. Vinayaka Torvi sent the audience at Sri Vani Vidya Kendra into a world of sweet and melodious Hindusthani music. Artiste Lakshmikeshava and Sharadaprasad of Sri Vani Vidya Kendra deserve to be commended for holding varieties of music programmes for more than 25 days. Besides different forms of music artistes of different levels and accomplishments are being featured, and who in turn are treating the rasikas with their extraordinary skills and talents.

An impressive singer Dhananjay Hegde began with a leisurely Behag and the bandishes ‘Kaise such sovath’ and ‘phiri se kaaman’ were framed with artistic and aesthetic bol bants, bol tans, tans and sargams.  It was followed by a bewitching raga Jog(‘Sajan mere’ with a tarana)  delineation that covered the contours of the raga in its myriad details.  The ragabhava was conveyed through innumerable creations. A Tulasidas bhajan ‘Raghuvara tumko’ in mishra Pahadi had clarity of intonation. He sang the swarapatterns of the raga also. A Purandaradasa piece ‘Neenyaako’(Jonpuri) filled the bill. Her performance proved that tradition could still rule high without being hide-bound. Vyasamurthi Katti who accompanied Dhananjay on the harmonium and Gopalakrishna Hegde on tabla, matched the vocalist's exercise with equal gusto.

Neat abhinaya

An ambitious dancer and a disciple of seasoned Guru Nagabhushan, Yamuna Bhagavat’s Bharatanatya recital held at the Nayana Auditorium under the Every Wednesday Cultural Evening Programme series in the arrangement of abhinaya sequences and rendition was proof of planned arduous homework. On a couple of occasions the arai mandis tended to miss the right proportion. But, those misses were almost overshadowed by her neat abhinaya. Arrestingly neat in her limb movements and mukhijas the abhinaya part was without flaws. A salutation to Lord ‘Gajavadana’ she danced briskly to highlight the various traits of Lord Shiva on the basis of ‘Mahadeva Shiva’.

The grandeur and enormousness of ‘Sri Chamundeshwari’ was beautifully captured by Yamuna in her enactment. The nritta, nrithya sequences too were good.  Sri Rama’s greatness was picturised with the lyrical help drawn from ‘Yamanelli kaananendu’ and ‘Indu enage Govinda’ (Bhairavi). Yamuna’s Guru Nagabhushan(nattuvanga and vocal), Vivek (flute) and Betta Venkatesh (mridanga) were the useful accompanists.

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