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Deccan Herald » Arts Reviews » Detailed Story
L Subramaniam's concert in aid of Karunashraya on Saturday at the Chancery Pavilion Hotel, was a captivating blend of ambient keyboard,Bass, Drums , Tavil , Morsing , Kanjir, Ghatam , Voice , Violin, beautifully produced and expertly orchestrated.
Musical melange

L Subramaniam's concert in aid of Karunashraya on October 7 at the Chancery Pavilion Hotel, was a captivating blend of ambient keyboard (Stephan), Bass (Keith Peters) Drums (Deva), Tavil (K Shekar), Morsing (Satya Sai), Kanjira (Latha), Ghatam (Giridhar Udupa), Voice (Seetaa Subramaniam), Violin (Ambi Subramaniam). beautifully produced and expertly orchestrated.

Subramaniam started off with an opening piece called Indian Express. It was a pleasure for all those who were present to watch the violin wizard wield his bow. Few can match his electrifying presence on stage. He played tunes that ebbed between passages brimming with notes at breakneck speed, that followed into serene sections of space and silence.

Next composition was Conversation with his son Ambi on violin. The orchestra was creative and the melodies when they came through were subtle, evocative and improvisation was central to the whole musical presentation. The accompanists responded with wonderful individual intensity and commitment evoking all the symphonys' wide ranging elements. The last piece was Ganga.


As part of the annual Navaratri celebrations at Sringeri (the renowned seat of Goddess Sharada) music concerts were held everyday evening. This gave the rasikas assembled from all over an opportunity to listen to well known and emerging artistes. On Lalitha Panchami day, Kadri Gopalnath (Saxophone) and Kanyakumari (violin) delighted the audience with popular songs like Endaromahanu bhavulu , Raguvamsha, Kuraivundrum illai.

The dvijavanti raga alapana preceding the Dikshitar's kriti Akilandeshwari was portrayed with panache bringing out its raga lakshana. The raga delineation by Kanyakumari won the hearts of the audience with her expressiveness as well her superb mastery over the instrument.

Though he played the familiar compositions, it sounded ever new, fresh and enchanting and received enthusiastic approval from listeners.

Jagadha Kumar


Navarathri was celebrated not only in Mysore but all over the state. Most of the temples celebrated the Dasara with enthusiasm. One such temple, Sri Aavani Shringeri Shankar Mutt, conducted different Homas in the mornings and cultural programmes in the evenings. The curtain came down on the Sharannavarathri Festival on Tuesday with a vocal concert by R Paramashivan.

It was an unique experience for the connoisseurs. Paramashivan, being a vocalist and instrumentalist, composer and director, is associated with Kannada theatre for several decades now. He presented Ranga Geethe (Theatre music) from different dramas, popular during the last century in Kannada,

In the past, music was part and parcel of dramas and most of the actors were good singers. They used to sing with Alapana, Nerval and Swara Prasthara. It was based on classical music - explained Paramashivan in his introduction.

The ragabhava of Athana was brought out in greater detail in the song Bhamini Mani Neelamani from the drama Thilothame. He sang two songs popularised by Dr Rajkumar - Enna Siriye Enna Doreye (Abhogi Raga) and the Keerthane Durmargachara (Ranjini) from the play Ambareesha. The Kharaharapriya raga had a vintage flavour. It was represented through the song Manadol Prathibimbisuvol from the drama Subhadra.

It was sung originally as a duet song by the legendary artists Sundaramma and G Nagesh Rao, and the audience used to cherish "Birka" and "Urutu" of their voices, for a long time! Sometimes they used to replace the words of well known Keerthanas with new lyrics, to suit the sequence of the drama! One Such song Parama Pavane was in the tune of Koluvamaragada (Todi) C Honnappa Bhagawathar used to sing this song with Swaraprasthara in the Kalidasa.

Though most of the songs were in Carnatic music, some of them were influenced by other systems also. For instance, Pellelle Ramani was in Hindustani style and Hasonuve from Tukaram (R Nagendra Rao) was influenced by western music. To illustrate the humour in stage music, he sang Kasidre Kailasa from the Sadarame.


The Ponnaiah Lalithakala Academy of Bangalore is a leading dance institution of the state and has produced many young dancers of today. Shwetha Lakshman, a young dancer, gave a Bharathanatya recital on Friday for the Bangalore Lalithakala Parishat. A student of law (LLB) she has completed senior examination and is learning music also. She has already performed in several prestigious sabhas and Sammelans, both in and outside the state.

Shwetha was confident in her interpretation for the Kannada Varna Swamiya Karedu Thare of Padmini Rao. The Keeravani varna gave her ample scope to exhibit her talent. She executed the well-knit theermanams with quiet confidence. A glimpse of her progress in Abhinaya was evident in her portrayal of the Vipralabda in the Pada (Panthuvarali).

She concluded with a fine Tillana of Maharajapuram Santhanam (Revathi raga). The programme was proof of Shwetha's progress over the years. Padmini Rao (Nattuvanga), Nandakumar (vocal), S V Balakrishna (mridangam) and Mathura (flute) and Shreyas supported from the wings.


The Shanthala Arts Academy also conducted the "Dasara Cultural Mela" with Veena, Solo Violin and Vocal (classical & light) concerts. The Dolls exhibition was another added attraction here.

Shankar Shanbhague, who gave a vocal recital, presented devotional songs of Haridasaru, Shishunal Sharif, Dr. M. Balamurali Krishna, Bhadragiri Achutha Das, Basavanna and few others. Omkara Karini - was in the little known Lavangi raga.

The steady pace and sonority of Ishtu Dina Ea Vaikunta paved the way for a cozy feeling. The repeatation of the word Vittala in ldane ldane was enchanting raising the emotional fervour to a trance. While Kallabeda Kolabeda is a popular vachana (raga Jinjoti), Yade

Thumbi Haadidenu is an all time favourite Bhavageethe. His voice range came to the fore especially in the folk song Yake Badadadathee Thamma.

Though it was not one of his best concerts, as the usual glitter was absent, Shanbogue pleased the audience with his expertise. Sateesh in Harmonium, Raghavendra Shanbogue in Tabala and Asheesh accompanied him.

Mysore V Subramanya
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