65th Heritage Music Festival at 8th Cross Ganesha Pandal

It was a treat for music- lovers as two outstanding musicians — Hindustani vocalist Pandit Venkatesh Kumar and flautist Vidwan Shashank Subramanyam — performed at the Sri Prasanna Vidya Ganapathi Mahotsava Charitable Trust’s (SPVGMC Trust) Music Festival on Sept. 16 and 17 respectively.

Pandit Venkatesh Kumar, one of the most popular Hindustani vocalists, performed on September 16. His recordings of Vachanas and Devaranamas have earned widespread popularity across the world. Known for his golden voice, clear diction and emotionally charged rendering, Venkatesh Kumar is a disciple of the legendary Pandit Puttaraja Gawai of Veereshwara Punyashrama. He follows the traditions of both the Kirana and Gwalior Gharanas.

An ‘A’ Top-grade artiste of All India Radio (AIR), he has been featured in several prestigious national music programmes. His concerts often witness an affectionate interaction with rasikas, who frequently request their favourite compositions.

Vid. Shashank Subramanyam presenting a flute concert at 8th Cross Ganesha Pandal in V.V. Mohalla on Sept. 17. He is accompanied by Vid. Nishanth Chandran on violin, Vid. B.C. Manjunath on mridanga and Vid. G.S. Ramanujam on ghata.

He was ably accompanied by Pandit Narendra Nayak on harmonium and Pandit Keshav Joshi on tabla. The opening raga, Marwa, unfolded through a brief and unhurried alap before developing through the bandish ‘Piya More Aa’ in Vilambit Ektaal.

The rendition gained further richness through akar and sargams. As the raga gradually gathered momentum, the tempo moved into drut with ‘Morare Tumhi Sang Aa,’ which surged with vigour and intensity. The cascading sargams added further brilliance to the presentation. When the rendition reached its exhilarating crescendo, the rasikas responded with thunderous applause.

He next presented Jayajayavanti, known as Dwijavanti in Karnatak music. An immensely attractive raga, it has the ability to capture the listener almost instantly. A brief sketch led into ‘Tu Hai Mhare Dasi,’ through which the singer brought out the subtle nuances and delicate shades of the raga. Venkatesh Kumar’s powerful, open-throated voice is capable of expressing a wide range of emotions, while his impeccable diction comes through particularly well in his rendering of Devaranamas. ‘Tore Parvatiye Shankarana,’ the immensely popular ‘Kamale Kamalalaye’ and ‘Akka Kelavva’ were among the memorable offerings.

A Tarana in Sohni and ‘Sharanu Sakaloddhara’ brought the concert to a close. Narendra Nayak and Keshav Joshi made significant contributions to the success of the performance.

The following day, September 17, the festival featured a performance by the celebrated flautist Vidwan Shashank Subramanyam, accompanied by Vidwan Nishanth Chandran on violin, Vidwan B.C. Manjunath on mridanga and Vidwan G.S. Ramanujam on ghata.

The concert was also a fitting tribute to the late flautist ‘Mali’, whose revolutionary approach to the flute has left an enduring mark on Indian classical music.

Shashank, a recipient of the Sangeet Natak Akademi Award and the Kalaimamani, is a child prodigy who has grown into one of the most accomplished exponents of the instrument. His mastery was evident right from the opening Bhairavi Ata Tala Varna, presented at the request of the audience. The varna was rendered in three speeds with remarkable clarity and precision.

His individual manodharma came alive in ‘Vatapi Ganapatim Bhajeham,’ where the brisk kalpanaswaras seemed to gallop with the energy of a spirited horse.

Tyagaraja’s ‘Chinnanadena’ in Kalanidhi led to a beautifully contoured exposition of Shubhapantuvarali. The raga, renowned for its pathos, flowed with remarkable ease and emotional depth. Another gem from the Tyagaraja repertoire, ‘Ennalu Urake,’ proved to be an apt choice.

A brisk ‘Sharavanabhava’ in Pashupathipriya, composed by Muthiah Bhagavatar, paved the way for Madhyamavati, the main raga of the concert.

Both Shashank and Nishanth Chandran delighted the rasikas with their sensitive and imaginative interplay. The celebrated kriti of Shyama Shastri, ‘Palinchu Kamakshi,’ portrays the yearning of a devotee through deeply expressive sahitya. Shashank embellished the composition with his characteristic manodharma. His kalpanaswaras, though marked by intricate mathematical patterns, were presented with such musicality that they were thoroughly enjoyed by the audience.

The taniavartana by B.C. Manjunath and G.S. Ramanujam was refreshing, with lively rhythmic exchanges and engaging patterns.

Together, the two evenings offered rasikas a rich musical experience, bringing the distinctive beauty of Hindustani and Karnatak traditions to the SPVGMC stage.

—Dr. Rama V. Bennur