Vibrant notes

V  Vamsheedhar, who gave a flute recital on Sunday, hails from a well known musicians’ family of Mysore. He is the grandson of V Desikachar and a student of D Balakrishna, senior veena player. The concert was held under the aegis of the Malleswaram Sangeetha Sabha and sponsored by the Veena Doreswamy Iyengar Trust.

The vibrant notes deftly appropriating with the words, the composition Vallabha Nayakasya  was euphonic in its impress. A cascading variety of phrases in Chitteswara enhanced the elegance of the dignified krithi Jallandhara. The Guruleka Yetuvanti in Gowrimanohari was another fine selection.

The melodic grace of Mohana followed easily in the Papanasham Shivan's composition. After a long time connoisseurs heard Aaragimpave of Thyagaraja (Todi). It was followed by a quick Pattividuvaradu (Manjari) and then moved to Pallavi, the piece de resistance of the evening. Meandering over all the salient Sancharas, the Pallavi emerged on a steady gait.

The Kannada Devaranama (Baro Krishnaiah) was evocative. He was very well supported by seasoned instrumentalists. C N Chandrasekhar on violin, Anoor Ananthakrishna Sharma on mridangam and B N Chandramouli on Khanjari enhanced the impact of the concert by their judicious play.

Melodious Mohana

Mohana is a popular and most sought after raga by both musicians and listeners. This audava raga (pentatonic scale) is widely used in many music systems of the world.

That too when it is presented by an exceptionally talented artistes like Mysore Nagaraj and Manjunath, the raga acquires a beautiful shape and colour. In their solo violin concert (the same SGBS Trust) on Thursday  they dwelt on Mohana's vast potential for improvisation.

TNS casts a spell

The Gokulashtami celebrations under the auspices of the SGBS Trust is attracting a large crowd everyday, inspite of the incessant rain. Madurai T N Seshagopalan gave a vocal concert on Tuesday here, accompanied by V V Ravi on Violin, Srimushnam Raja Rao on Mridanga and Vyasa Vittala on Khanjari.

His choice of Angarkamashrayam was appropriate as it was a Tuesday. The Ranganayakam was rendered in a majestic Vilamba Kaala. The Madura Madhura was a quickie. The climax came with the evergreen composition Baala Gopala. A detailed airing of Bhairavi in his own individualised style enhanced the dignity of the concert.