Though musical treatises prescribe time theory for the rendition of different ragas, mostly it is in Hindustani classical music that this theory is stringently followed, according to which time specific (diurnal, nocturnal and seasonal) ragas are heard from the platform.
And, hence excepting evening, night and late night melodies (usual time of the most of the concerts held) other types of ragas are heard rarely. But still, such thematic concerts are being organised today wherein other different types of ragas can also be enjoyed.
Thanks to Sapthak, led by tablaji G S Hegde, one such concert was held on Sunday morning in which morning melodies satiated the ears. The ardent Hindusthani rasikas could break their fast with a highly sensitive, soothing and scholarly feast of morning ragas on Sunday morning.
Seasoned and outstanding flute maestro Praveen Godkhindi fed them with his refined music through his instrumental concert held at Khimcha auditorium, Bharatiya Vidya Bhavana.
Going by the applause with which every score was greeted, it seemed, each one was an instant success.
With an introspective flautist’s appealing articulation, the artiste was in step with the state of the art, especially the level of professional art and musical talent. He packed in as many as seven different ragas which facilitated the listeners to size up the width of his musical ideas. He made a far greater impact with his steady and solid play. The opening Lalath of the Marwa Thaat was gripping. It was rendered on a wider canvas.
The exposition in vilambit ektal and drut teent tal was well modulated. Besides being disciplined and dignified, he maintained its praiseworthy buoyant and sunny character throughout. A false note was just out of question in his instrumental play. His extraordinary brilliance became striking as he descended into the base as also in the construction and carriage of sargam and tana.
The fact remained that whatever and as much as he played was beautiful, in perfect shape. He could bring out the intrinsic beauty of the raga in its purest detail and emotional intensity. The sounds of swaras are elfin, volatile material that can belie the grip of a musician and an expert listener as easily.
But Praveen’s melodic drafts were meticulously planned, prepared and presented. The novel sequence and their more logical and comprehensive treatment of notes was marked by an incessant inflow of unfathomed musical ideas and thoughts.
Aesthetic and artistic discretions were heaped on the melodies in appropriate measures. Nath Bhairav in madhya laya roopak and drut teen tal was replete with all the instrumental graces and his creations were neatly articulated with the full power and glow of his breath control.
He embellished the delineation by weaving an enticing garland of ragas comprising of Gurjari Todi, Bhairagi Bhairav, and Gunakali. Praveen never consciously indulged in showing off his knowledge of the ragas and their traits. The unsullied stream of the ragas was a veritable audio enchantment.
Rajendra Nakod’s imaginative tabla accompaniment enhanced the creative and pleasing appeal of Praveen’s flute play.
Impressive mudra: This was true when one witnessed young and beautiful Mudra Dhananjay, daughter and disciple of a versatile Bharatanatyam and Kathak dancer, choreographer and Guru Shubha Dhananjay of Natyaantaranga made her maiden bow in front of packed lovers of dance at the Chowdaiah Memorial Hall on Thursday.
Undoubtedly, Mudra has inherited all the positive elements to shine as a merited dancer. Mudra’s intimately articulated abhinaya and the fluid limb movements served testimonials for her extraordinary talents and skills. Her nimble nritta, nrithya and acting abilities left an indelible mark in the minds of the viewers. It is heartening to note that she has been doing well on the academic side and sports also. Blessed being the daughter of a dancer and a patron of art father Dhananjay, Mudra rose to the occasion and was applauded for her every presentation on stage.
Happily supported by Guru Shubha Dhananjay(nattuvanga), P Rama (vocal), Natarajamurth (violin), Narasimhamurthy(flute), Srihari(mridanga) and Prasannakumar(rhythms) she began with a triumphant negotiation of a demanding Mallari(Gambheera Nata).
Mahaganesham (Hamsavinodini) was an apt salutation to the Lord Gananatha. Alarippu in 3-4-7 patterns prepared a favourable foreground for what was to follow in the form of nritta. Mudra enthralled the rasikas with her Perini nrithya. Remember the plate and pot dance in Kuchipudi natya recitals.
But here, she danced on a beautifully decorated mud pot and besides etching complicated jathis on it with her flawless footwork, she enacted the Goddess Sharada’s attributes neatly on the basis of a Dwarakikrishnaswamy’s composition Sakala Kalaavaniye.
In an usual varna addressed to Lord Ganesha set to Nattakuranji raga(Vaarana mukham), Mudra excelled in all the departments of pure dance and histrionics. Her satwikaabhinaya was also praiseworthy.
The following Shiva stuti (Shambho,Revathi) was an artistic and aesthetic combination of graceful, vigorous, crisp jathis and movements marked by intricate karanas