Pleasing sans sparkle
Chandrasekhar, a Veena player, is a budding artiste of the State. Though blind by birth, he is determined to climb great heights.
Chandrasekhar performed for alumni of the Bhavan's HB College of Communication and Management, Bangalore, on the Teachers' Day. He took off on a vibrant note with the Shahana varna which, in two speeds, gave him a rollicking start.
The invocatory piece, "Vathapi Ganapathim", in the raga Hamsadwani, was followed by "Sarasamukhi Sakala Bhagyade". This composition of Dr L Muthaiah Bhagawathar, was very popular in old Mysore and Chandrasekhar rendered it with chitteswara. Then two well-known krithies of Tyagaraja "Manavya Lara" (Nalinakanthi raga) and "Sogasuga Mridanga Thalamu" (Sriranjini), paved the way for the main items of the evening.
The alap for Hindola was deftly supplemented with a neat thana. It was followed by ever popular composition "Samaja varagamana", which appeared more convincing than his earlier compositions. He must avoid slips. It was pleasing sans the sparkle. The 'Nityotsava' had its lyrical flavour and the Behag thillana was evocative.
He concluded with "Bhagyada Lakshmi Baramma", customarily. Chandrasekhar, no doubt, is capable of more solid performance. Praveen Hariharan accompanied on Mridanga. After graduation, he has also secured an MBA degree and is learning Veena under the tutelage of Vidushi Indira Ramakrishna. He has won prizes from reputed organisations, including Bangalore Gayana Samaja and has performed in a few Sabhas also.
Skillful footwork
The Bengaluru International Arts Festival, under the aegis of the Artists Introspective Movement (Aim), is the brainchild of Dr Suma Sudhindra, popular Veena player and Veena Murthy, Kuchipudi exponent. The festival being held in nine different venues, will continue till September 16. Malavika Sarukkai, internationally acclaimed Bharatha Natya dancer at Chowdiah Memorial Hall, caught the attention right from the opening Thandava in the raga Naata. 'Sringara Lahari' of Aliya Lingaraja Urs, was very popular all over the South a few decades back.
It has an old world flavour and is full of ragabhava (Neelambari). She performed it with grace. In the Ragamalike composition of C V Chandrasekhar, the energetic and crisp foot work, and abhinaya with good involvement made an impact. Skillful footwork to the background of percussion instruments (both Mridanga and Thabala) enthralled the audience in the "Mahishasura Mardhini", climaxing in the death of the demon, telling in its effect. Vasudha Ravi (vocal), Neela Sukanya (Natuvanga), Nellai Balaji (Mridanga), Sai Shravanam (Thabala) and Sri Lakshmi (Violin) - provided good support.
Meaningful concerts
The Bangalore Lalithakala Parishat's programme for the month of September was different from its routine monthly programmes. Senior K N Venkatanarayana gave an interesting commentary for the compositions rendered by his son K V Krishna Prasad.
Venkatanarayana said the music is a divine art and Indians from centuries are practising it as a means of 'Aradhana'. Indian music, especially Karnatic Music, is full of meaningful compositions and most composers are also great devotees.
Instead of the routine invocatory pieces, Krishna Prasad opened with a composition of Sudha R Rao. 'Hari Ninna Dhyanava Maaduva Manava' was in Purvi Kalyani and rendered with brief swara. 'Ramaninnu' of Veena Seshanna was in the raga Anandabhairavi.
'Sri Viswanatham Bhajeham', the chaturdasha ragamalika of Dikshitar, with lilting gait, was interesting and was the highlight of the programme. 'Paramathmudu' of Saint Tyagaraja was elaborated with raga and swara, evocatively. Krishna Prasad with his good voice sang with feeling and concluded with a composition of R K Padmanabha in the raga Sindhu Bhairavi. Anand Viswanath and B S Prashanth accompanied him on violin and mridanga, respectively.