Guru Utsava - 2015
Date & Time: 11th July 2015 List of music teachers performed
10 AM to 10 PM @ Sobha Lake View Club Click here for photos
Guru Purnima (Sanskrit: गुरु पूर्णिमा, IAST: Guru Pūrṇimā) is an Indian festival dedicated to spiritual and academic teachers. This festival is to pay their respects to their teachers and express their gratitude. The festival is celebrated on the full moon day (Purnima) in the month of Ashadh (June–July). The word guru is derived from two words, gu and ru. The Sanskrit root gu means darkness or ignorance, and ru denotes the remover of that darkness. Therefore, a guru is one who removes the darkness of our ignorance. Gurus are believed by many to be the most necessary part of life.
On this day, disciples offer puja (worship) or pay respect to their guru (spiritual guide).
Ranjani Fine Arts hosted their third Guru Utsava with the performances of music teachers in the vicinity. Music teachers had an opportunity to thank their Gurus through their performances of half an hour each. Students of these teachers sought their blessings by offering tambulam. The day had 2 parts. Morning 10.30 AM to 8 Pm had performance of the Carnatic teachers and the Hindustani teachers continued 8 PM stretching into late evening.
It was a treat for the rasikas. Listening to so many concerts and variety of Banis made it a spectacular day. The program was inaugurated with lighting the lamps by Sri. N. S. Krishnamoorthy, former director, AIR. Sri. Arvind Brahmakal started the day’s proceeding welcoming the Guests and the Gurus. Arvind spoke about the genesis of the Guru Utsava and the spirit behind this program. Guru Utsava serves as a great platform to enable the artistes in this neighbourhood and bring the students, parents and the Gurus.
Sri. N. S. Krishnamoorthy appreciated the efforts of Ranjani Fine Arts in conducting the Guru Utsava and said this is a unique platform and most relevant. He recalled his memories of Sri. Palghat Raghu and how he used to address his Guru as ‘Gurunathar’ and the reverence of this tradition inculcated in us. He emphasised the need to retain the Guru Sishya Parampara and how it enables a strong bond between the students and teachers.
Dr. Priyashri Rao started the day’s program. Starting with a quick Navarasa kanada krithi by Thyagaraja (Paluku Kanda), Dr. Priyashri moved on to elaborate Dhanyasi ragam. Smt. Soumya Ramachandran supported well and played an excellent ragam. Mayuranadham was the main. Dr. Priyashri ended with Bharathiyar’s Payum Oli. Sri. Ramesh Krishnan supported well on the mridangam especially in the swarams and the Korvai.
This was followed by Sri. R. Vasudevan. Sri. Pranav Swaroop played the Violin and Sri. Ramesh Krishnan continued on the mridangam. Vasudevan started with the Valachi navaraga malika varnam. He followed this with Parvathi pathim in Hamsadwani. The raga elaboration was just right and Violin accompaniment on Hamsadwani was worthy of mention. The next was Merusamana in Mayamalavagowla. He followed this with a rare composition in Saaranga. Kakai Chiraginile was the last piece.
Sri. Narayanan Iyer started his concert with a Papanasam Sivan krithi in ragam Saraswati (Arulpuri Ainkarane). The next was in Mohanam. After a brief elaboration, Sri. Narayanan sang Sri Rama Ramani. Sang the swarams at Atulita Divyaguna. Sri. Narayanan was supported well by
Chandramouli and Sri. M.S. Muralidharan. He then sang Bho Shambo in Revathi.
Smt. Vasudha Sriram was the next on the stage. She started with a Hindolam Varnam and moved on to a virutham in Saveri following it with an elaboration in Khambhoji. She sang the Gopalakrishna Bharathi krithi Thiruvadi Charanam. This was a slow paced rendition ably supported by Sri. Raghavendran on Mridangam and Chandramouli in violin. She followed this with the Ranjani Mala and then the Lalgudi’s Desh Thillana.
Sri. Nagaraj M was the next on stage. He was accompanied by Sri. Satwik Tejaswi on Violin and Sri. Ravishankar Sharma on the Mridangam. He had also invited the other tala pakkavadyams and the stage was set with Khanjira, Ghatam, Morsing, Dolu and Konnakol. Sri. Nagaraj started with Aparamabakthi in Pantuvarali. It was a brisk one with swarams at Kapivarithi supported well by Satwik well. He followed this with an elaborate Ragam in Thodi. The violin was quite good and did justice to bring thodi in such a short duration. Dachukovalena in Jhampa thalam was the main and with so
many tala vadyams around, one expected the swarams and the mukthai to be elaborate. The team did a good job to bring out the best in 30 mins.
Smt. Radha Srisailam was the next. She started with Seshachala Nayakam of Muthuswamy Dikshithar in Varali. She did a good elaboration of Varali and showcased tanam which added beauty to the ragam. She followed this with a Vachana in Saranga set to Khanda Chapu. Ended it with a beautiful rendition of a devaranama in Kaapi. Sri. Bhanu Prakash played exceptionally well. The Tone of the Mridangam was very good and added so much aesthetics to the Veena.
Smt. Saigeetha Sreenivasan was the next. She was accompanied by Sri. Raghavendran on the Mridangam. She started her concert with Gajananayutham in Chakravakam followed by Telisa Rama, Sriman Narayana, Pandu rithikolu and Maitrim Bhajata. It was like a string of pearls and Sri. Raghavendran supported very well on the Mridangam.
Sri. A. P. Rao was the next on the stage. He was accompanied by Sri. Narayana Sharma on the Violin and Sri.VV Vaidyanathan on the Mridangam. AP Rao sir started the concert with Mohana kalyani. Sangita Samrajya by Sri. Kolkata Krishnamurthy. Narayana Sharma ably supported him on Mohana Kalyani. Gowri Manohari raga elaboration was the next followed by Guruleka Etuvanti. Sri. Vaidyanathan played very well to align to the song and energise it further. This was followed by Nadanamakriya and then the krithi in Brindavana Saaranga.
Smt. Parvathy Vaidyanathan was accompanied by Chandramouli on the Violin and Sri. V V Vaidyanathan on the Mridangam. Started with Gajananayutham in Chakravakam and ended with crisp swarams. The next one was Sakalagriha in Atana. After an elaborate Simhendramadhyamam, she started on the Krithi Ninnenammithinayya. Followed it with swarams at Pannagendra. Sri. V V Vaidyanathan did justice to the songs by playing closely to the sahithyams.
Next was Vidhushi Madhu Govindarajan with Sri. Anirudh on the Violin and Sri. Swaminathan on the Mridangam. She also started with Gajananayutham. Quickly moved on to Sriranjani. It was an enjoyable ragam supported well by Anirudh. Marubalka was the krithi in Sriranjani which was taken up with swarams at the pallavi. Next Purandaradasar Krithi in Thilang ‘Ramakrishnaru’ was enjoyable. Swaminathan ably supported them on the mridangam.
Smt. Chitra Srikanth was the next. She was accompanied by Smt. Soumya Ramachandran on the violin and Sri. RSR Srikanth on the Mridangam. She started with a Muthuswami Dikshithar krithi ‘Sriguruna palithosmi’ in raga Padi (Janyam of Mayamalavagowla). Some quick swarams in Padi was very enjoyable. Next was a krithi by Suguna Purushothaman in raga Atana. Started with a trade mark Atana flourish, the song elaborated the experience of seeing Thiruvaiyaru. This was followed by Sri chandrashekara Yatindram in Shankarabharanam. The raga elaboration is worthy of mention. It was good to hear a soothing Shankarabharanam. Ended with Gurunathan varuvaro in Khamas.
Smt. Bhagyalakshmi chandrashekaran on the Veena and Sri. RSR Srikanth on the Mridangam started with a Devaranama in ragam Hindolam. The sedate style of playing made for a good beginning. She followed this with a rare krithi ‘Swarabhumi Suthe’ in Megharanjani. Sri. RSR Srikanth is very adept at playing for the Veena and ensured the melody was enhanced. She then did a brief elaboration (Oxymoron) of Yadukula Khambhoji and followed it with the Utsava Sampradaya krithi Hecharika garara. She went on to explore the 3 octaves (or four) to discover nuances of Dharmavati in the ragam and tanam. It sounded so heavenly. Sindhubhairavi sound so good on the Veena when mami
Smt. Soumya Ramachandran was the next on violin solo accompanied by Sri. RSR Srikanth. She started with the famous Lalgudi Varnam in Ragam Kannada. Hamsadwani was the next in. The swarams in the krithi were enjoyable and lively. Madhyamavathi ragam reminded me of a thirupugazh in this ragam. She very smartly bought out the essence of the ragam. Dharmasamvardhini sounded so melodious.
Next was a Veena recital by Smt. Mythili Suresh accompanied by Sri. VV Vaidyanathan. She started with a nice elaboration in Shankarabharanam ragam. Krithi rendered was ‘Bagumeera’ by Sri. Veena Kuppayyar. Kharaharapriya ragam followed this. Chakaniraja was the krithi. Sri. VV Vaidyanathan supported well during the krithi. Maravairi Ramani in Naasikabhooshani was the next one.
Next was the Hindustani vocal by Smt. Shruti Sharma accompanied by Sri. Vishwas Sagar on Tabla
Followed by this, was the Hindustani vocal by Sri. Chandramouli Rao accompanied by Sri. Vishwas Sagar on Tabla
The last performance of the day was Hindustani vocal by Sri. Kailash Kulkarni accoampanied by Sr. Jagadish Airsang
-- Chandramouli Srinivasan