By Dr. Rama V. Bennur
Kanakanahalli Vasudevacharya, popularly known as Mysore Vasudevacharya, is considered as ‘Abhinava Tyagaraja’. His contribution to Karnatak music as a composer is very valuable.
An accomplished musician and a Sanskrit scholar, Vasudevachar’s compositions reflect his both the qualities . His house in Mysuru, which was in a dilapidated condition is now buzzing with musical activities. Thanks to the brothers, Srinivas and Yadupathi Putty. Almost two or three concerts in a month happen there. Local and artistes from outside consider it as a blessing to sing in Acharya’s house.
Recently, Vid. G.K. Manmohan sang Acharya’s compositions there (7.1.2023). He had only violin for the accompaniment to enhance the musical feeling in the small hall.
Manmohan is one of our very talented singers who was taught music by dedicated teachers like Vidushis H.N. Rajalakshmi, Vasantha Sundar Rajan and Pushpa Shrinivasan. He has also learnt mandolin for 16 years! His deep love for classical music brought him back to India from a lucrative job in California. His rich imaginative rendering laced with awesome datu swara prayogas and enthusiastic spirals are the hallmarks of his singing. He was accompanied by the talented Keshava Mohan on violin. ‘Devi Rame mamava’ (Raga-Vasntha-Adi Tala) was the opening kruti that had a sparkling prelude. Kalpana swaras consisted lightening sancharas of datu swaras. Actually it is a challenge to experiment datu swaras in a vakra raga. But he carried it effortlessly.
A not-so-heard, dignified composition ‘Pranamamyaham Sri Prananatham’ in the raga Ranjani, set to Misra Chapu was literally a musical treat. The magnificent manodharma came alive in both alapana and kalpana swaras. The spirals, birkas and fast sangathis in his rendering, which is usually in madhyama kala makes it lively. ‘Nachaividavakura’ (Natakuranji-Rupaka), ‘Sri Vasudeva Sri Ramana’ (Ramapriya-Khanda chapu), ‘Idi samayamu’(Natakapriya) and ‘Paripahimam’ (Shubhapnthuvarali) were the other compositions he sang. Keshava Mohan gave very good support on violin. Manmohan’s selection of rare krutis was a welcome.
Young vocalist of Mysuru, Vidu. M.R. Sudha gave a concert at the Veene Seshanna Bhavan under the aegis of Ganabharathi on the 13th of January 2023. Sudha was honed by the senior musician of Mysuru Vidu. Gowri Kuppuswamy. Sudha was accompanied by Adithi Krishnaprasd on violin, G.S. Ramnujam on mridanga and V.S. Ramesh on morcing.
‘Amboruha’, a Varna in the Raga Ranjani in two speeds gave a good start to the concert (composed by GNB, set to adi tala). After saluting to Lord Ganapathi in ‘GumGanapathe’ (Hamsadhwani-Adi-Muthaiah Bhagavatar) laced by an attractive chitteswara and crisp kalpana swaras, she proceeded to present a short alapa of raga Devagandhari. Papanasam Shivan’s kruti on Saraswathi ‘Sharade veenavaadana visharade’ set to adi tala set the mood to forthcoming treat.
Sudha’s rendering of Raga Sriranjini confirmed her rich manodharma. A perfect approach with all the required embellishments to enhance the raga bhava filled the hall. Young Adithi too was equally good in her bowing. Tyagaraja’s ‘Marubalka (Adi) never ceases to please the listeners. The Kruti was decorated with interesting Kalpana swara by both Sudha and Adithi.
Though the main Raga of the day was Kambodhi, it was Hameerkalyani that turned out to be a testimony to her musical imaginations. Every phrase was pleasing for the pleasure of rasikas. She unfurled all the possibilities of this beautiful raga. Adithi’s handling of Hameerkalyani on violin was equally pleasant with her innovative sangathis. Subbaraya Shastri’s evergreen composition ‘Venkata shaila vihara’ was a perfect choice. She did justice to kambodhi by breathing life to it. The age old phrases came alive in her manodharma. Tyagaraja’s another gem ‘O Rangashayee’ was superb with a neraval at ‘Bhuloka vaikutha idiyani’ followed by an elaborate kalpana swaras. The tani avartha by Ramanujam and Ramesh was filled with engaging and stimulating jathis by both the percussionists. Their support throughout the concert was commendable.
The concert ended with a few Devaranamas like ‘Narayana ninna naamada mahime’, ‘Yadavaraya Brindavanadolu’.
Delightful flute concert by Sameer Rao
Ninaada Griha Sangeet,’ a monthly baithak series, curated by Ranjani Memorial Trust, Udupi, was organised here in Mysuru, as the second in the series, on Jan. 29 at Ninaada, Rishabh Siddhi Apartment, Kergalli, Mysuru.
The young and vibrant flautist of Mysuru, Sameer Rao, a disciple of Pt. Hariprasad Chaurasia, presented the delightful flute concert, true to the line of his lineage. A rare raag called Sandhyashree was his choice of the evening. This raga, created by his guru Chaurasia, Sameer Rao delved to layakari in its gat in Matt tal carrying 9 matras with brilliant gaits, after a mellifluous rag alap and jod.
The end piece thihaays were wisely constructed to suit best for the percussive beauties of the tabla artiste Gururaj Adukala from Honnavar. His playing not only soothed the flow of flute but also proved his able saath along the rhythmic patterns of the composition.
Sameer continued the recital further with raag Des. His creativity found no bounds in this most popular melody wherein he kept the audience spell-bound with his free lance manodharma capturing the learned ears too to dissolve in his captivating sways and whirls.
He concluded the concert with a dhun in raag Manj Khamaj. Needless to say that the sound audibility along with best quality acoustics at the small hall of Ninaada, provided a proven success to this evening concert.
While the curator V. Saranga Hebbar welcomed Shrimatidevi proposed a vote of thanks.
Feb. 26 recital
Next ‘Ninaada griha sangeet’ will be on Feb.26 at 6 pm with Bansuri recital by Ravishankar Mishra and Tabla Jugalbandi by Dr. Udayraj Karpur and Master Pradyumna Karpur.