Dr. Sindhuvalli Ananthamurthy has contributed to the cultural field especially theatre and music in Mysuru. He established an organisation called ‘Kalasuruchi’ in 1985 and trained many upcoming artistes by arranging programmes since then. Though he is not amidst us physically, his dedicated team is active till today and is living up to the ideas of their GURU.

Suruchi Rangamane, Kuvempunagar and the music-lovers of Mysuru experienced the melody of Hindustani music through Sitar played by Ustad Rais Bale Khan. In fact, due to untimely heavy rains, people outside the venue got drenched in rains, whereas those present inside Suruchi Rangamane got drenched in the shower of musical notes. Due to Corona effect, there were restrictions on musical programmes and as such, this programme was indeed an excellent opportunity to enjoy music.

To begin with, Ustad Rais opened his concert with Raag Desh — a Ruturag. Raag Desh is a melody of Varsha Ritu as well as is ‘Uttarang Pradhan Raag’, which indicates the usage of notes at higher octaves is prominent and the presentation of raga is developed systematically keeping this aspect in mind.

As such, the presentation was with proper Jor, Jhala and then with tabla saath — the traditional way to present. The later part of Raag Desh was set to ektaal vilambit, which was followed by Drut and concluded with ‘Tihai’. The music-lovers in the audience were eager to hear more of classical ragas but may be due to time constraint, the pattern was more towards the lighter side of music.

Next followed a dhun in Raag Pahadi, which is very famous in film music and semi-classical Bhajans in Hindi. The beginning  notes of Pahadi caught the attention of listeners and a Urdu Ghazal entered easily — Jaba Balama — saiya tumhara ghar kyon na aaye? – here entered Pandit Vighnesh Bhagwat to support on harmonium.

As second part of the concert, Rais started with vocal — Semi classical or ‘Upashastriya’ — few Urdu Ghazals and Kannada Devaranamas, Vachanas. The famous Ghazal ‘Aaj jaaneki jid naa karo’ in Raag Yaman was effective.

A meaningful ‘Narajanma bandaga, naalige iruvaga’ in Raag Mishra Rageshri of Saint Purandaradasa was followed a Vachana of Saint Basaveshwara ‘Madidenembudu manadalli’ as well as ‘Chakorange chandramana’ were well-received by the listeners. The barrier for the listeners was for vocal presentation, the Sitar support was overlapping the singing and obstructing the clarity of words. Normally, the singers take support of Tanpura. The concert concluded with a famous composition of Saint Purandaradasa — and made immortal by Bharat Ratna Pandit Bhimsen Joshi — ‘Bhagyada Lakshmi Baaramma’; It was very much appropriate as it was a Friday and most favourite of all. It indeed was the masterpiece of the evening.

Of course, any music concert, especially Hindustani music concert is successful only when the accompanying artistes extend their support heartily.

Pandit Bhimashankar Bidanur is an established tabla player of Mysuru and exhibited his skills beautifully. The young and upcoming artiste Pandit Vighnesh Bhagwat provided harmonium support and created hope in the minds of listeners about his bright future.

The members of Kalasuruchi and their efforts to make the programme successful are indeed remarkable, for which they deserve appreciation.

By Dr. Manik A.V. Bengeri