By Dr. Rama V. Bennur

Bhasange Balaga or Bhanuvara Sanje Geleyara Balaga celebrated its 9th anniversary on the 19th of November at Sri Vasudevacharya Bhavana. This Balaga, which started with the intention of spending the Sunday evenings in a meaningful way, has expanded its horizons by providing a stage to many art forms that include Hindustani-Karnatak classical music, Instrumental music, Bhavageethe, Janapada, Dance, Drama, Harikathe, Hasya Sanje etc.  The Balaga has encouraged many a young talents by providing a platform for them.

The present President of the Balaga Srikanth remembered the guidance of late S.R. Krishnamurthy (Music critic, SOM)all through and paid tribute to him. Chief guests K.V. Murthy, H.V. Rajiv and Adarsh also wished good luck to the Balaga.

The occasion was marked by a Flute Jugalbandhi by two young flautists  Mysuru A. Chandankumar and L. Sameer Rao in Karnatak and Hindustani styles. They were accompanied by G.S.Nagaraj on mridanga and Adarsh Shenoy on the tabla respectively. These two artistes have carved a niche for themselves in their fields. Perfect grooming and hard practice has resulted in shaping two fine flautists of Mysuru. Both of them have good control on blowing and can convert any musical thought through their instrument.

They started off with the familiar Hamsadhwani and preferred to develop the raga turn by turn, phrase by phrase in a very slow pace. The deep sound of Bansuri and the melodious flute unveiled the aesthetic  essence of the raga in a comprehensive alapana. Kanakadasa’s ‘Nammamma Sharade’ too had elaborate improvisation in their respective styles that was quite impressive. The Kalpana swaras were rich and scintillating. Gradually, at the crescendo, it was a display of their virtuosity.

They opted to present a raga individually thereafter. Sameer Rao chose Rag Bhimpalas. The meticulous exploration of the rag in an unhurried alap transported the listeners to a mystic world.  The Bandhish he played was also soft and melodic. In contrast, Chandankumar started with the majestic Bhairavi raga. His dedicated approach combined with melody has made him a successful artiste. Bhairavi alapana was endowed with his rich imagination. Tyagaraja’s composition ‘Upacharamu’ had good improvisation.

Gamanashrama (Karnatak)and Pooriya Kalyani (Hindustani) was yet another musical experience. The deep, pure and straight notes of Hindustani in contrast with the gamaka and other embellished notes of Karnatak music with their own identities of key phrases and movements firmly established the different styles in the minds of rasikas.

These two youngsters cast a spell with their rich alap, vibrant Tana in different registers in a systematic manner. They both are endowed with powerful blowing that produces energetic and soulful sound. They did not leave a stone unturned to elaborate the pallavi. The percussionists were also inspired and gave good support. Popular ‘Bhagyada Lakshmi Baramma’ of Purandaradasa brought the curtains down.