An amalgamation of melody and maturity
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An amalgamation of melody and maturity

June 25, 2024

Ganabharathi of Mysuru had arranged an exquisite flute recital by Vid. Mysore A. Chandan Kumar on June 7. Accompanied by Vidu. Sindhu Suchetan on violin, Vid. A. Radhesh on mridanga and Vid. Sharath Kaushik on ghata, Chandan gave a memorable concert for the pleasure of rasikas.

Chandan is a familiar face in music field, known for his commitment to the divine instrument. A dedicated flautist, music is in his blood. Chandan is the great grandson of the legendary violinist of Mysuru, T. Chowdiah. He took up flute, unlike his great grandfather. He exhibits an extraordinary skill in both blowing and fingering technique. The outcome is a pleasant sound that is capable of carrying away his listeners on a divine journey.

He opened the concert with an atta taala Varna ‘Sarasijanabha’ in the raga Kambodhi. A perfect start in a right tempo. Normally he includes a composition of T. Chowdiah in his concerts and now it was, ‘Prasanna Ganapathe’ in the raga Bahudhari. It was beautifully decorated with kalpana swaras by both Chandan and Sindhu.

‘Mayammayani ne pilachite,’ a soul stirring cry for Devi in the befitting Raga Ahiri, penned by Shyama Shastri, indeed  created a serene atmosphere. The contour of Saveri was fine with the typical  and fine touches of the raga. Sindhu’s manodharma too bloomed like a delicate flower. ‘Shankari Shankuru,’ another popular composition of Shyama Shastri, was flawless and frilled with kapana swaras by both the artistes.

After the fast kruti ‘Anupama gunambudhi’ (Athana), Chandan arrived at the main raga of the day Kharaharapriya. No stone were left unturned. A magnificent gush of phrases. Chandan’s blowing is so fine that the listener only feels the continuity of the nada in alapa. In a composition, he gently stresses on the lyrics or sahityakshara that helps one to follow and enjoy the sahitya.

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Smitha’s Kharaharapriya was also very attractive with rich sangathis. Tyagaraja’s ‘Chakkani rajamargamu’ was the right choice. It was further decorated by a scintillating Tani avartana by Radhesh and Sharath Kaushik. The last two pieces ‘Saramaina’ (Behag-Swathi Thirunal Maharaja) and a Thillana (Sindhubhairavi-Lalgudi Jayaraman) was very melodious. The matured playing by both Chandan and Sindhu deserve an  applaud.

A Real classical treat

A  vocal concert was arranged in memory of Smt. Sugunamma Dayalu and Mahalakshmamma, who were both lovers of music on June 14 at Veene Seshanna Bhavana under the aegis of Ganabharathi.

Young and upcoming artiste Spoorthi Rao from Bengaluru sang, accompanied by Chinmayi on violin, Aniruddha Bhat on mridanga and Shamith Gowda on ghata.

Spoorthi Rao from Bengaluru performing at Ganabharathi’s Veene Seshanna Bhavana in Mysuru on June 14. She is accompanied by Chinmayi on violin, Aniruddha Bhat on mridanga and Shamith Gowda on ghata.

Young Spoorthi has earned name and fame as a child prodigy. She has also received many prizes in the competitions. She is performing in and outside India too. Groomed by the renowned artistes Ranjani and Gayatri, this teenager has all the necessity qualities and competence to shine like a star in the classical music field.

It was a perfect combination of artistes on the stage. All young and talented. Naturally, the outcome was a real musical treat. This was proved in the very opening Ata taala varna ‘Viriboni’ in the raga Bhairavi. An impeccable presentation.

After a short and lively alapa of the raga Lathangi, Spoorthi opted to sing ‘Marivere dikkevvaru,’ an immortal composition of Patnam Subramania Iyer. A Neraval at ‘Dharaloni nee saati daivamu leda’ was elaborate and brilliant. Every phrase she sings are dipped in classicism. Her control on the laya was evident in ‘Akhilandeshwari’ (Dvijavanthi – Muthuswami Dikshitar).  It was Chinmayi who played the prelude to it. For a singer whose voice suits perfectly for classical music and spirals flow effortlessly,  a gamakavarika raga like Todi is the right choice. The deep gamakas and birkas were enjoyable in the alapana. ‘Rajuvedale joothamurare’ in Desya todi by Tyagaraja came alive in her silvery voice. Another neraval at ‘Kaveri theeramunanu paavanamagu rangapurini’ was a testimony to her scholarship.

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The most important raga of the day was Vagadheeshwari. Spoorthy proved her prowess in it. She explored all the possibilities of this majestic raga. It was a rare classical treat. In ‘Paramathmudu,’ supposed to be the last composition of Tyagaraja, she did justice to the composer.

Spoorthi and Chinmayi did not lag behind in showcasing their expertise. The lively Tani avartana by Anirudha Bhat and Shamith Gowda was equally engrossing.

‘Baro Krishnayya,’ a Kannada Devaranama and a Thillana in Sindhubhairavi by Lalgudi Jayaraman brought the curtains down for an excellent music concert.

—Dr. Rama V. Bennur

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