Music-lovers were disappointed to know that the one and only music conference that used to be held in Mysuru was cancelled due to the covid pandemic. The grand event which used to be held from Dec. 2 to 6 every year with pomp and fervour gave opportunities to many artistes and scholars. However, the host, JSS Sangeetha Sabha, decided to hold it symbolically for a day with a grand vocal concert by Vid. S. Shankar of Bengaluru. 

Thus, 27th music conference in memory of Jagadguru Dr. Sri  Shivarathri Rajendra Mahaswamiji was held for a handful of invitees and all the rasikas on Facebook. S. Shankar is  one of the senior vocalists, who is known for his adherence to classicism and purity of tradition. His rich voice and clear diction enable him to transform his musical thoughts successfully. He breathes life by stressing more on the melody  of the raga than reducing it to a mere display of virtuosity. 

Shankar was ably accompanied by Vidu. Charulatha Ramanujan on violin, Vid. Tumkur Ravishankar on mridanga and Vid. G.S. Ramanujan on ghata. 

Shankar’s opening piece was ‘Shri Maha Ganapathim Bhajeham,’ a fine composition of Sri Jayachamaraja Wadiyar in the Raga Athana. The crisp kalpana swaras were lively. After a short sketch of Poorvikalyani, he presented a meaningful Vachana of Basavanna ‘Geethava haadidarenu’? like a ugabhoga and later as a composition. The medium tempo and availing middle octave mostly results in an effective exposition. After a Keerthana of Tyagaraja ‘Naada thanumanisham’ (chittaranjani), Shankar indulged in unveiling  the nuances of Raga Shankarabharana.  The majestic gait of the raga instantly captured the listeners. He could easily traverse in all the three octaves. The open throated singing did justice to the age old raga. Charulatha added more beauty to the different phrases of Shankarabharana. 

Surprisingly, he had opted for a beautiful Devaranama ‘Bhajisi badukelo maanava’ by Kanakadasa. A neraval at ‘Garuda Seshadrigalu hotthu thiruguva paada’ and the kalpana swaras that followed showcased his scholarship and the mature manodharma. 

Abheri and shanmukhapriya were the other two ragas he elaborated. The alapana in both the ragas were filled with ragabhava. Mysuru Vasudevacharya’s ‘Bhajarere maanasa’ and ‘Marivere dikkevarayya Raama’ by Patnam Subramanya Ayyar were sheer joy to listen. An elaborate neraval at ‘Sannuthanga Shri Venkatesha neevu’ and the kalpana swaras that followed by both the artistes aimed only at portraying the essence of the raga. 

The permutation and combi-nations of jathis used in the thani avarthana added pep to the concert experience.  Ravi Shankar and G.S. Ramanujan deserve an applaud. ‘Nudidare mutthina haaradanthirabeku’(Durga) and a ugabhoga of Sripadaraja ‘krutha yugadi’ were soothing. 

Shankar concluded his concert with a rare Mangala by Vidya Prasanna theertharu ‘Maara janaka chathuraanana’ in Sindhubhairavi. On the whole, it was a peaceful experience.

—Dr. Rama V. Bennur