Ganabharathi celebrated Sri Krishna Jayanti with a three-day festival from Sept. 8 to 10, bringing together music and dance in a fitting tribute to Lord Krishna. Veene Seshanna Bhavana was decked up like a bride for the occasion, creating an atmosphere of festivity and devotion. In keeping with the tradition initiated by Veene Seshanna, the celebrations featured flute, vocal music and dance, offering rasikas a varied musical fare.

The festival opened with felicitation to Dr. M. Jagannath Shenoy, the well-known industrialist of Mysuru and chief patron of Ganabharathi, by Sri Shivarathri Deshikendra Swamiji of Suttur Mutt.

The inaugural concert was by young flautist Vid. Rakesh Sudhir, an ardent disciple of Vid. A.V. Prakash and Vidu. Rajalakshmi. He was accompanied by Vidu. Pruthvi Bhaskar on violin and Vid. Pavan Madhav on mridanga.

The trio offered a pleasing selection of compositions, including ‘Sri Gananatham Bhajare’ (Esha Manohari – Muthuswami Dikshitar), ‘Amba Anandadayini’ (Gambhiranata – Balamuralikrishna), ‘Gopika Manoharam Bhaje’ (Mohana – Muthuswami Dikshitar), ‘Elara Sri Krishna’ (Kambodhi – Tyagaraja) and ‘Emani Delupudura’ (Vachaspati – Veene Seshanna).

Vidu. Lavanya Krishnamurthy giving a Karnatak Classical Vocal Concert at Ganabharathi’s Veene Seshanna Bhavan in Kuvempunagar on Sept. 9. She is accompanied by Vidu. C.V. Shruthi on violin and Vid. A. Radhesh on mridanga.

Rakesh has clearly imbibed the refined blowing technique of his guru. His flute playing is firmly rooted in classicism and he brings to the instrument the delicate gamakas and other nuances that give Karnatak music its distinctive character. His Kambodhi and Vachaspati alapanas were particularly noteworthy. Both unfolded as unhurried journeys into the world of melody, enriched by well-defined gamakas and tasteful embellishments.

Pruthvi’s melodious bowing added colour to the proceedings, while Pavan Madhav provided steady and sensitive rhythmic support. Together, the three musicians complemented one another well, allowing the music to breathe without disturbing its classical poise.

The second day’s concert, presented in memory of Vid. T. P. Vaidyanathan, featured another young musician, vocalist Vidu. Lavanya Krishnamurthy of Bengaluru. Lavanya is a disciple of Vidu. T.S. Sathyavathi, a musician known not only for her accomplishments in Karnatak music but also for her scholarship in Sanskrit language and literature. Lavanya was accompanied by Vidu. C.V. Shruthi on violin and Vid. A. Radhesh on mridanga.

Lavanya possesses a naturally mellifluous voice, capable of carrying her musical ideas with ease. The fluidity of her voice allows the melodic curves and spirals to emerge naturally. There is musical promise here and with greater attention to proportion and a more measured pace in her renditions, she has the potential to develop into a fine performer.

From the very beginning, however, speed seemed to dominate the concert. The opening ‘Evarunnaru’ (Nalinakanthi – K. Vasudevachar) set the pace and the tendency continued through much of the presentation. Devaranamas, in particular, benefit from an unhurried treatment that allows their lyrical and devotional content to reach the listener. ‘Kunidado Krishna’ (Hamsanandi – Purandaradasa), unfortunately, passed by almost in a flash. The delineation of Chandrajyothi and Bhairavi was more satisfying and deserves special mention. Muthuswami Dikshitar’s ‘Balagopala’ was an appropriate choice and provided scope for a more expansive musical treatment.

Young accompanists Shruthi and Radhesh contributed effectively to the concert, lending both melodic and rhythmic support.

The concluding day began with the felicitation of four personalities whose contributions have enriched the field of art and culture — Vidu. H.S. Rajalakshmi (Karnatak classical music); Ratna Vishwanath Mirle (theatre and social work); Vidu. Dr. Rama V. Bennur (art critic and musicologist) and Vid. R.K. Padmanabha (Karnatak classical instrument – veena).

This was followed by a Bharatanatyam presentation by Dr. K. Kumar and his disciples. The dancers performed to recorded music. Dr. Kumar opened the programme with the familiar shloka ‘Shantakaram Bhujagashayanam,’ set to raga Bhouli. There is something deeply moving about an artiste continuing to remain connected with the stage despite advancing age.  Rigorous dancing at this stage of life is certainly not easy and Dr. Kumar deserves appreciation for his determination and willingness to continue performing.

His disciples presented a jathiswara, followed by Annamacharya’s ‘Pranavakaram Siddhivinayakam’ in Arabhi. Students belonging to different age groups came together for ‘Jaya Jaya Janaki Ramana,’ set to Ragamalika and Talamalika. A Pancha Devi Stuthi and a Thillana were also included in the presentation.

The 3-day celebrations brought together tradition, devotion and the performing arts under one roof. More importantly, it reflected Ganabharathi’s continuing commitment to providing a platform for young musicians while honouring senior artistes and cultural contributors. The festival thus concluded on a note that was both celebratory and rooted in the rich artistic legacy associated with Veene Seshanna Bhavana.

—Dr. Rama V. Bennur

Vidu. H.S. Rajalakshmi (Karnatak classical music); Vid. R.K. Padmanabha (Karnatak classical instrument – veena), Vidu. Dr. Rama V. Bennur (art critic and musicologist); Ratna Vishwanath Mirle (theatre and social work), who were felicitated during the valedictory of the 3-day Sri Krishna Jayanti celebrations at Ganabharathi on Sept. 10, are seen with other dignitaries. Picture right shows Dr. K. Kumar of Kumar Performing Arts Centre (KPAC), Hebbal, performing on the occasion.