Classicism is great by itself

A three-day Aradhana music festival was held under the joint auspices of TSK School of Music and CV Nagaraj Memorial Trust at Sri Varaprada Lakshmi Venkateshwara Temple, SVK Layout, Basaveshwaranagar last week. It was presided over by the veteran violinist and a dynamic music activist Prof TT Srinivasan. He was presented with the title of ‘Kalaaradhanasri’ at the valedictory program on Sunday by NS Krishnamurthy.As per the practice, the first day’s music programme was rendered by the festival president Prof Srinivasan. As a true representative of the authentic Carnatic tradition, he unfolded the beauty of the vintage Carnatic quality. He had a beautiful and eternally expressive visage. His violin play was marked by a splendid usage of the bow, an useful fingering technique, prolific phrasings and a restrained laya. The temple settings naturally must have inspired him to begin his recital with Thyagaraja’s ‘Tereteeyaka raada’(Gowlipantu). His musical logic from which the beauty, power and weight of the raga and krithi sprang was admirable. The rasikas enjoyed the fragrance of classical melody, Nata, when he ornamented the krithi ‘Saraseeruhaasana’. Srinivasan demonstrated that classicism is great and beautiful all by itself by presenting ‘Srivaralakshmi’ in Sri raga. An instrumentalist’s favourite ‘Nenendu vedakudura’(Karnataka Behag) was in a delightful pace. His enormous creativity in Mandari was sparked by a not constantly heard krithi ‘Ninnu jeppakarana’. The alapana was systematic and his involvement was praiseworthy. Patnam’s ‘Bhajare manasa’ and a quaint krithi by Thyagaraja ‘Pattividuva’ set to a rare Manjari raga was moving. The experienced violinist rightly placed Shankarabharana centrally in the concert and exerted himself with utmost sincerity to make it a classical peak. He succeeded in his aim by ensuring power in terms of classicism and the sense of flow that resulted in exciting beauty. Thekrithi ‘Swara ragasudharasa’ was highlighted by felicity and concentration. The engaging technical extension in the form of sahitya and swaravistaras was befitting a pivotal piece. C Cheluvaraju (mridanga) and Dayananda Mohithe (ghata) cared for music and played rhythm musically.A Rare Listening Experience:                      On the second day, senior most artiste septuagenarian Dr Shyamala G Bhave, who is well-versed both in Hindusthani and Carnatic music, betrayed her age and captivated the rasikas by presenting both the varieties of the Indian classical music system simultaneously under the title of ‘Dakshinottharam’. She studded the concert with ragas which are common to the twin systems. Those renditions were particularly relished by the eager audience who lapped up all music offered by Shyamala with her characteristic professional shrewdness. Sporting a rich and pliable voice, she began with a salutation to Guru followed byHindusthani Pooriya Dhanasri raga which corresponds to Kamavardhini of Carnatic music. Her virtuosic aims ensured the systematic growth in musical expressiveness. She was able to sustain the niceties and subtleties of both the systems. Raga Charukeshi is the same by name and form in both the systems. But Shyamala made it distinctive with her vocal skills and cutcheri craft.The raga was extended through ‘Kripa  Karo Nandakishora’ (Hindusthani) and ‘Kripayaapaalayaa’ (Carnatic style). One could relish the greatness of the varied music. She sang her own creation Devangini raga (a la Abhogi) for Vijayavitthaladasa’s ‘Bhaktajanapalaka’. The Shivashadakshari shloka in Bhairav, Brindavanasaranga, Kalyan, Hamsadhwani, Darbarikaanada and Lalith ragas was impressive. Aditya (violin), Shivu (mridanga), Grunandan Kalyanpur (harmonium) and Udayaraj Karpur(tabla) were the successful accompanists.Charming Bharatanatyam:A charming smile, precise aduvus and araimandis, unfaltering abhinaya and fine spun laya were the keywords of a Bharatanatyam recital by Suhasini BV held at Bangalore Gayana Samaja. Suhasini has done well in putting her tensile physique for a better use and purpose. The training she has received from her Guru and a sincere exponent of Bharatanatyam Vidya Shimladka has been of great significance in its exploration. Inspiring support by Vidya Shimladka on nattuvanga and an equally impressive back up by Srivatsa (vocal), Madhusudan (violin), Narasimhamurthy (flute), Gurumurthy (mridanga) and Prasanna (rhythmpad), Suhasini opened with a traditional pushpanjali and Ganesha vandana. Thekhanda alarippu was refreshing. Suhasini etched some fine karanas with ease and very meaningfully sketched the traits of Lord Shiva on the basis of the familiar Revathi krithi. Another popular number—the navaragamalika varna (Alaitodiva) by Dandayudhapani Pillai was the important landmark of her recital. The nritta, nrithya and abhinaya aspects of the varna were artistically dealt with by Suhasini. She filled a Muthaiah Bhagavatar krithi in Tamil on Shakti swaroopini Kaali (Abhogi) with attractive freezes and sculpturesque poses of Devi. The swaras and jathis were converted into a nimble nritta. Her abhinaya was laudable in ‘Adigo barutihane’ and ‘Baro Krishnayya’.