A mixed bag
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In Mysore, tribute to one of the greatest visionaries of music, Panchakashari Gawai, was organised. As part of this programme, lectures, demonstrations, vocal and instrumental concerts were presented
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ILLUMINATING Eminent scholars like Indudhar Nirody presented lecture demonstrations at the Panchakshari Gawai tribute programme
Saptaswara Balaga, in collaboration with the Department of Kannada and Culture, paid rich tributes to musical visionary Ganayogi Panchakshari Gawai, by conducting an extensive programme on music, at the Jaganmohana Palace Auditorium.
This novel programme incorporated lectures, demonstrations and concerts, highlighting salient features of both Hindustani and Carnatic styles. The Trust also honoured Pandith Somnath Mardur.
Analysis
Eminent scholars, Indudhar Nirody and Sukanya Prabhakar (with suitable accompanists), made a comparative analysis between the two systems, relating to their origin and growth in the contexts of changing social patterns, political policies and evolvement in human ideas.
Substantial references to Natyashastra, Brihaddeshi, Sangeetha Ratnakara , Sangitasudha, Chaturdandi Prakashika and many more, pared down for easy comprehensibility, authenticated the talks and demonstrations.
The topics covered classifications of ragas (Thaats, Melas, Ragangas), methods of alapana (Rupaka, Akshiptika, Sthayi, Anthara, Sanchari and Abhog), forms of compositions (krithis, khyals and so on) and the concept of Murchana. Open interactions laid bare subtle aspects like the roles of jeeva, vaadi and samvadi swaras in influencing the personalities of ragas.
While the morning session predominantly discussed the lakshana aspect of music, the afternoon primarily focused on the lakshya in both the art forms. R.N. Shrilatha and Nagabhushana Heggade were in charge of this task.
Concerts
Mrithyunjaya Agadi, accompanied by Shivadev Navadagi (harmonium) and Lokesh Agadi (tabala), sang with a resilient voice, admirably spanning over the required octaves.
In “Pritham Saiyya” (Lalitha Gowri), the artiste exhibited his mettle in developing the raga, than in exposing the emotional content of the cheez.
Remarkable sense of shruti and the ease with which he articulated in the desired octaves, marked his merits; and inadequate soft and emotive intonations exemplified the deficiencies. Though heavy gamaks were a measure of his sadhana, shallow thaans marginally diminished the outcome.
“Akka Kelavva” (Akkamahadevi) and Kande Udupiya Krishnana (Purandaradasa) carried both reflective and devotional sentiments.
Captivating
Jugalbandhi by H.K. Narasimha Murthy (violin) and A.V. Prakash (flute), accompanied by Ramanuja (mridanga) and V.S. Ramesh, held the audience by virtue of their competence and harmony.
Commencing with “Mahaganapathim” (Naata - Dikshitar), the artiste later elaborated “Marivere” (Lathangi - Patnam Subrahmanya Iyer) featuring a neraval followed by kalpanaswaras.
The focus “Alakallala” (Madhyamavathi-Thyagaraja) accommodated a Thani Avarthana.
Somanatha Mardur’s vocal concert, accompanied by Somashekhar (harmonium) and Bimashankar Bidanur (tabla) provided ample scope for study and thoughts.
This unique artiste sings with an exemplary control over his voice. He brings about fine variations in tone and volume to meet his requirement, unhindered by the level of the octave he is traversing.
Ragavistar in Durga (“Rasakanare”) had appealing meends and other embellishments intertwined with lively passages of sargam.
The taans varied from deep to heavy ones executed with the desired swiftness. The voice which is relatively stentorian in the higher octaves could infuse sentiments and emotions, more than an all-absorbing pleasing ecstasy.
He emotively presented “Chakorange Chandramana” in Bhairavi.
V. NAGARAJ
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