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Absorbing veena recitals
Rasikas of Vizag witnessed recently a unique ''veena trayam'' concert featuring the teacher and the taught - guru Mallapragada Jogulamba (retired AIR staffer) and disciples N. Krishnaveni and V.V.S. Meenakumari - and excellently supported on the mridangam by Vankayala Venkataramana Murthy (AIR).
Their repertoire included a Natakuranji varnam, 'Sarasiruha' (Naata), 'Brochevarevarura' (Kamaas) and 'Nagumomu' (Abheri), both adorned with aalapana and swaram and elaboration of 'Paalinchu Kamakshi' (Madhyamavathi). The prefix of ragaalapana and the taanam in ragamalika comprising Mohana, Hindolam and Revathi, the suffix of extensive neravu and swaram in the two speeds, overall was a scholarly exercise. The thani replete with exquisite gathi and yathi traverses by Ramanamurthy contributed to the grandeur. Notwithstanding the occurrence of a few nuances sounding euphimistic occasionally because of the minute difference in the tenor in the corresponding melody evolved on the veena of the guru with a microphone attached to it and the other two devoid of it, it turned out to be a pleasant evening in the premises of Sadguru Ramadootha Mandiram in Madhuranagar. It was a monthly schedule of the Sangeetha Kala Samithi.
Later in the week, the Visakha Music Academy presented a veena recital by the AIR staffer, Bonala Sankara Prakash, in Kalabharati. His colleagues, noted N.C. Madhavan on the violin, the veteran mridangist, Mullapudi Srirama Murthy, and G. Venkata Rao on the ghatam, lent commendable support.
Prakash took rather a long time for warming up. The rendering of the Begada varnam, 'Srimahaganapathini' (Gowla), 'Anupamagunambudhi' (Athana) and 'Vaanchatodu' of Harikesanallur Muthaiah Bhagavathar (Karnaranjani) was euphonic all right but not evocative enough. Rendering 'Palukavademira' (Devamanohari) next, he suddenly appeared to have come into an aesthetically well balanced mood. He came out with a rapturous expatiation of 'Paramapavana Rama' (Poorvikalyani) of Ramnad Srinivas Ayyar. It was a splendid explication of the raaga and sahitya bhavas.
Mullapudi moulded his beat so delightfully, it created an impression as if he made the instrument sing in tandem with the veena. Along with Venkata Rao, he executed a scintillating thani.
A.R.S
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