By Vijayamala K. Saralaya

Vid. Vijayasurya and team presented an online Nagaswara concert under the ‘Yuva Sangeetha Sambhrama’ series of Sri Thyagaraja Sangeetha Sabha Charitable Trust, Mysuru, on 31st January. 

Grandson of Asthana Vidwan Papannaiah, Vijayasurya acquired the skills of the art initially from his father and further under the guidance of his uncle and renowned Nagaswara artiste Vid. Krishnamurthy. It is notable that he is also learning classical vocal and flute from eminent teachers.

Nagaswara is also known as Mangalavadya due to its prominence in all auspicious occasions. The first presentation, ‘Ninnukori’ (Vasantha – Adi), a composition of Tacchur Singaaraachari, wherein the charana was aptly ornamented with kalpanaswaras, marked an auspicious beginning to the concert. The next one was Purandaradasa’s Devaranama, ‘Vandisuvudadiyali’ (Nata-Khandachapu) with a neat and brisk ragalapana.

Vijayasurya chose a scholarly rendition of ‘Shambho Mahadeva’, a composition of Thyagaraja in raga Kamavardhini set to Rupaka tala for his final piece. Both Vijayasurya and Vidu. Prithvi Bhaskar (on violin) excelled in their respective instruments, capturing the entire beauty of the raga in the elaborate alapana and kalpanaswaras.

The contribution of percussion artistes, Vid. Nandan Kashyap on mridanga and Vid. Shrinidhi R. Koundinya on ghata, was significant with compatible following and lively layavinyasa. The mangalavadya concert, 13th under the series, presented with enthusiasm by all the artistes won the hearts of the audience with a blissful celebratory mood.

The vocal concert by Vidu. Prithvi Bhaskar, premièred on 6th February was the fourteenth and the concluding concert under the series. She is the granddaughter of the popular senior violinist, Vid. H. K. Narasimhamurthy and daughter of internationally acclaimed violinist, Vid. H.N. Bhaskar. 

A promising talent both in violin and vocal music, she is being trained in Karnatak vocal music by her grandmother,   Vidu. H.N. Rajalakshmi. She is also pursuing training in Hindustani vocal music.

Prithvi began her concert with an elegant varna of Lalgudi Jayaraman, ‘Neeve Gathiyani’ in Nalinakanthi raga, set to Adi tala. The next composition was Muthuswami Dikshitar’s ‘Rama Rama Kalikalusha Virama’ in raga Ramakali, set to Rupaka tala. Ramakali, a rare bhashanga janyaraga of Mayamalavagowla, also belongs to Bhairav thaat in Hindustani style. The rendition of this rare kriti with inherent karunarasa captivated the listeners. B.K. Padmanabha Rao’s ‘Sathathamu Ninne Sharanantine’ (Shivakambhoji – Adi) was the succeeding piece. The alluring mood of this yet another rare raga was vividly evident in the rendition with a short alapana and brisk swaraprastara. 

One more composition of Dikshitar in raga Kumudakriya and Rupaka tala, ‘Ardhanareeshwaram’ was the main item of the concert. The technique in which the vocalist approached the kriti in this panchamavarjya raga, dominated by bhakthirasa, with an aesthetic alapana and matured presentation, was a testimony to her competence. Prithvi’s rendition of madhyamakala sahithya woven with skilful kalpanaswaras in various paces was well complemented by the equally proficient Vidu. C. V. Shruthi on violin. Vid. Nandan Kashyap (mridanga) and Vid. Shamith S Gowda (ghata) supported the concert ably following the manodharma of the vocalist and with a scintillating thani avarthana.

The selection of compositions in rare ragas and the way they were handled and delivered with dexterity, won the hearts of the rasikas. With the devaranama ‘Harismarane Mado’ (Yamunakalyani – Adi) of Kanakadasa, the curtains were drawn for the concert as well as for the ‘Yuva Sangeetha Sambhrama’ series being premièred since   October, 2020.

The organisers and sponsors of the series deserve appreciation for encouraging and showcasing young and upcoming talents capable of carrying forward the musical heritage of Mysuru.