Ganabharathi, the well-known Sangeetha Sabha of Mysuru, celebrated the three-days Aradhana Mahotsava with pomp and fervour on the 20th, 21st and 22nd of January at its Veene Seshanna Bhavana premises in Kuvempunagar, Mysuru.
‘Taruna Bharathi’, an exclusive platform for young and upcoming artistes has always been a part of Aradhana at Ganabharathi. This programme gives opportunity for two vocalists and their accompanists.
This year it was young Shreya Kolathaya and Shruthi Ranjani who presented vocal concerts. Aniruddha Bharadhwaj, Vikram Bharadhwaj and T.S. Ajay provided violin, mridanga and ghata support respectively.
Kashi Sundaradasa was solely responsible for the propagation of Purandaradasas compositions at Varanasi. Mouni Amavasya was the day Kashi Sundaradasa celebrated Purandaradasa Aradhana. Hence, every year, Purandara Aradhana in memory of Sundaradasa is performed on Mouni Amavasya day, which was on the 21st of January.
Vid. Bellary Raghavendra paid rich tributes with his Devaranamas. Vid. C.V. Shruthi, Vid. Tumkur B. Ravishankar and Vid. Dasappa provided violin, mridanga and morcing accompaniments respectively to Vid. Bellary Raghavendra.
Saint Tyagaraja’s Aradhana was celebrated on the 22nd in a different way. It was ‘Bhakthi Sangeetotsava’ and ‘Goshti Gana.’ The devotional songs presented in different Indian languages was the highlight of these three days Utsava.
Vid. Raghavendra, with his rich voice, clear enunciation and power-packed rendition, gave an absorbing concert with only Devaranamas. All the Devaranamas were penned by Sri Purandaradasa except a composition of Bellary Sheshagiri Achar ‘Shri Purandaragurum’ in the Raga Hradini.
Most interesting thing in this concert was that instead of the popular ragas, new tunes were set that brought a shine to the lyrics. ‘Sharanu Siddhi Vinayaka’ (Hamsavinodini), ‘Palisemmamuddu Sharade’ (Mukhari), ‘Shreepati emage’ (Shree), ‘Haridasarasanga’ (Arabhi), ‘Yare Rangana’ (Hindola), ‘Dayamado’ (Bindumalini), ‘Odibarayya’ (Bhairavi), ‘Kayalareno Krishna’ (Hamsanandi), ‘Guruvinagulama’ (Salagabhairavi), ‘Enagedorakida’ (Ragamalike) and ‘Tatthakadhimienuta’ (Sunadavinodini) — each one was dipped in devotion that made the whole atmosphere divine. All the four artistes contributed wholeheartedly in making the concert memorable.
The last day began with the singing of Sri Vadiraja’s compositions by Vid. M.S. Deepak. Vid. Tandavamurthy (violin) and Vid. M.J. Kiran (mridanga) accompanied him.
Young and upcoming singer Sunitha Hiremath stole the show with her rendition of Abhangs. Vid. Veerabhadriah Hiremath (harmonium) and Vid. Ramesh Dhannur (tabla) accompanied her.
This was followed by Goshti Gayana of Saint Tyagaraja’s Pancharathna Krutis by junior and senior musicians of Mysuru.
Dr. Vasundhara Doreswamy, a recipient of Central Sangeeth Natak Academy Prashasthi, was honoured by MLA S.A. Ramdas on behalf of Ganabharathi.
The ‘Bhakti Sangeetha’ continued after this and it was time for Dasara Padagalu by Vid. Deepika Pandurangi accompanied by Vidu. Pruthvi Bhaskar (violin) and Vid. Kumaraswamy (mridanga). Vidu. Sudha Manjunath presented some more compositions of different Dasas accompanied by Amogh Nadadur (violin) and M.S. Jayaram (mridanga).
Bhakthi Sangeetha of Kerala in Malayalam was presented by Vid. Raveendra Gosada along with Amogh Nadadur (violin)and Nandan Kashyap (mridanga).
‘Santha Vani’, Bhajans in Hindi, was sung by Vidu. Shanthala Vattam. Mrityunjay Hiremath and Bhimashankar accompanied her on harmonium and tabla respectively.
Vidu. Lakshmi’s rendering of compositions of Bhadrachala Ramadasa and Annamacharya was impressive. Thiruppavai and Thiruppughal by Vidu. M.A. Jyothi along with Pruthvi Bhaskar and Saishivu Keshava and compositions of Kanakadasa by Vid. N. Srinath with M.D. Arjun and Sai Shiv Lakshmi Keshav brought the curtain down.
It was indeed a three days musical extravaganza.
Reading through this report, there is no mention of what is this:” Aradhana”. The best title should have been to qualify the word ‘Aradhana’ with the ‘Aradhana’ of music composers , as it involved tyagaraja, Purandara Dasa and others compositions , and Thiruppavai and Thiruppughal hymns. This event should have been held in January to coincide with Tyagaraja Aradana, and Thiruppavai and Thiruppughal hymns are sung in Winter months, particularly the former.
The author reporting events like this, should first give an introduction about the importance of ‘Aradana’, what it is and why it is important, as the listening of classic music is dwindling in South India, particularly in Karnataka. The rich traditions of these classical music rendering need support from the government, and to that end, this event should have been inaugurated by the minister in charge of culture of the Karnataka government. Reports like these, hence should not merely focus on the music per se, but also the necessity of preserving the tradition exemplified in the rendering of the compositions, and the NEED FOR SUPPORT TO NUTURE THE TRADITION.