Vidwan T.P. Vaidyanathan and his wife, Vidushi Indira, were disciples of Vidwan B.K. Padmanabha Rao, a senior musician and vaggeyakara from Mysuru. The couple actively contributed to the cultural scene of Mysuru. In honour of their legacy, their disciples and well-wishers organise an annual music concert in their memory.

This year, a memorable veena concert was held on Nov. 23 at Veene Seshanna Bhavana. The performance featured young Rakshita Ramesh from Bengaluru, who was accompanied by Sai Shivu Lakshmi Keshava on mridanga and Shamith Gowda on ghata.

Rakshita, who has been trained by Vidushi Yogavandana for several years, has shown significant improvement in her manodharma and remarkable control over laya. The pure, melodic sound of veena resonated beautifully throughout her performance. She began the concert with the opening Varna in Raga Sahana, “Karunimpa,” set to Adi Taala, which set a positive tone.

A rare composition by Tyagaraja, “Sri Gananatham” in Raga Kanakangi, was a delightful addition. Following this, she presented Poochi Srinivasa Iyengar’s “Anudinamunu” in Raga Begade and Shyama Shastri’s “Kanakashaila viharini” in Raga Punnagavarali.

Rakshita’s maturity in manodharma was evident in both her Alapana and Swara Kalpana. Her renditions displayed a deep understanding of the sahitya bhava in the kritis. Her portrayal of Raga Shanmukhapriya stood out with an Alapana filled with the essence of the Raga. Listening to her Taana on veena was a true delight, as she skilfully explored the nuances of the instrument.

Rakshita’s seamless transition between Ragas Gurupriya, Natakapriya and Rasikapriya in the Ragamalika was impressive.

A challenging Pallavi, “Nathana sadaa bhajisu manave, Kailasa nathana Sri Vishwanathana, Maha Vaidyanathana,” set to Mishra Nada Tishra Triputa Taal, honoured the memory of the musician for whom the concert was held. This intricate taala required intense focus and was a challenge for the percussionists as well. Both Sai Shivu Lakshmi Keshava and Shamith Gowda showcased their alertness and expertise in the subsequent Thani Avarthana.

Rakshita concluded the concert with a Kannada Devaranama by Veene Seshanna, “Siriye tvarithadindalennanu,” in Raga Jhinjoti. Kudos to Rakshita for delivering a pure, classical veena performance, free from unnecessary gimmicks.

An energetic performance

The Tyagaraja Sangeetha Sabha celebrates Muthuswami Dikshitar’s Day every year and this year’s celebration took place on Dec. 1 at Prasanna Parvathi Kalyana Mantapa.

The event began with students and young musicians paying tribute to Dikshitar by singing his compositions. This was followed by a classical vocal concert by Vidwan N.R. Prashanth, accompanied by Janardhan Srinath  on violin, H.L. Shivashankar Swamy on mridanga and Raghunandan Rao on ghata. The concert exclusively featured Dikshitar’s compositions, adding a special focus to the evening.

N.R. Prashanth, known for his energetic and dynamic singing, captivated the audience with his powerful voice and rich imagination, whether in Kalpitha or Kalpana. His dedication to his craft was evident throughout the concert.

The performance opened with “Karikalabha mukham” in Raga Saveri, which included a brief Alapana and a vigorous display of Kalpana swaras. His singing was imbued with energy, maintaining its intensity throughout the evening. The rendition of “Pavanathmaja” in Raga Naata was particularly striking.

Raga Lathangi, referred to as “Geethapriya” in Dikshitar’s School, was handled with great finesse by both Prashanth and Janardhan. The duo effectively captured the essence of the raga, enhancing its beauty. A lesser-known composition, “Sadhujana vinutham,” was also featured, embellished with Kalpana swaras. Most of the concert’s pieces were enhanced with Alapana and Kalpana swaras, adding depth to the compositions.

“Shree Gowreeshaya namasthe” in Raga Arabhi was another highlight, with a crisp and lively Swara Kalpana.

Prashanth also honoured his Guru, Prof. R. Visweswaran, a well-known composer, by singing his composition on Muthuswami Dikshitar, “Guruguha Roopam mudduswamy,” in Raga Begade. This piece also featured an engaging Chitteswara.

The main Raga of the day was Todi, a Raga that never fails to captivate listeners. Prashanth’s rendering of “Shree Krishnam Bhaja manasa sathatham” was majestic, with an elaborate Swara Kalpana by both Prashanth and Janardhan, further enhancing the beauty of the piece. The Thani Avarthana by Shivashankar Swamy and Raghunandan Rao was particularly satisfying.

Prashanth concluded the concert with “Suryamoorthe” in Raga Sourashtra, leaving a lasting impression on the audience. This was undoubtedly a concert that will be remembered by the rasikas for years to come.

—Dr. Rama V. Bennur