Tuesday, May 13, 2014

24-hour Veena festival - Chicago May 10th and 11th, 2014

Sounds of Infinity: A historic Veena festival in Chicago
- Worldmuziq

…and what a grand festival that was! 80 Veenas, 200 participants and over 24 hours of incessant Veena sounds later, the town is immersed and swathed in the Veena universe! Sri Annamacharya Project of North America (SAPNA) once again raised a toast to the Veena while showcasing her grandeur at the Sixth International Veena Festival held in the Hindu Temple of Greater  Chicago on May 10 and 11. 

The program commenced Saturday May 10 with the customary lighting of the lamp and Vedam chanting, Strains of the Veena in Hamsadhwani raagam flowed majestically to commence the 24-hour infinite music.

All the Chicagoland Veena schools Rajaveena School, Rama Music Academy, Pallavi School, Ensemble of Ragas collaborating with Pratibha School of percussion - rendered the Veena festival colorful with their outstanding contributions to the Raaga Darshanam concerts. The infectious enthusiasm of several students from participating schools was palpable all through the day. It was indeed a serenade of  Veena-s with its multitude of hues being showcased.
The programs were arranged in such a way that the sound of the Veena did not cease – there was always the strumming of the strings between concerts, during concert, and at set up time! Un-ending Veena sounds!

Saturday evening featured  “Vallaki Vilasam”, a menagerie of Veena-s conceptualized and arranged by Chicago Veena artiste Saraswathi Ranganathan. The performance was a beautiful confluence of music from SaraswathiVeena, Surbahaar/Sitar, Santoor, Guitar. Traditionally, these instruments have been described as belonging to the Veena family:  Saptatantri Veena (Sitar / Surbahaar), Shatatantri Veena (Santoor), Chaturtantri Veena (Guitar) and of course, the Saraswathi Veena. The raga chosen for the event was Bhimplaasi followed by Paayoji maine and Chitti Babu’s composition Reverie. The beautiful hypnotic meends on Surbahaar by Indrajit Banerjee, the delightfully delectable tones on Santoor by Kunal Gunjal, the soft sweet strums on guitar by Carlo Basile, the deep melodious scintillating passages on Veena by Saraswathi Ranganathan lent a mystical aura to the event! The mystic sound mosaic was complete with riveting percussion by Ganapathi Ranganathan on Mridangam and HIndole Majumdar on Tabla!  The Consul General of Indian in Chicago who presided over the event. Mr.(Dr.) and Mrs. Sayeed mentioned that “the listeners were transported to a different world altogether” while witnessing this very unique one-of-a-kind presentation. Mr. and Mrs. Sayeed are avid patrons of art, not to mention the CGI Chicago Office has always been supportive of SAPNA’s artistic endeavors in preserving and promoting Indian Classical performing arts.

Earlier in the day, it was heartening to listen to the three generations of family Veena artistes performing on stage. Smt. Rajeswari Pariti, who is keeping alive the Andhra Vizianagaram bani along with her son Ravi Pariti and grandchildren Nitya Pariti and Divya Pariti – truly a blessing to Chicago.
Young Arthi Nadhan displayed commendable skill in handling the Veena – replete with gamakams in the Thanjavur style of Veena playing.

Invited artiste Emani Kalyani Lakshminarayana’s concert was exceptionally good. There was something very special about the way Smt. Kalyani handled the Veena: she is the only true authentic torch bearer of the Emani style of Veena playing. So what is Emani style - It is in the spirit of bringing out the innate versatility of the Veena and demonstrating that anything is possible on this instrument. AT the concert one could observe a distinct style of plucking the Veena to highlight short notes, western-music like phrases, plain notes, gamakas through glides, contrasting robust and gentle sound effects, energetic and spontaneous outbursts of improvisation!  From “Come September” to “Brocheva” to “Needu Charamule”, the classic Veda recital – a hallmark of Emani style: it was such a treat to listen to this veteran Veena artiste. Kalyani’s father, the Late Emani Sankara Sastri was a trailblazer on the Veena introducing a novel approach to melody, technique and presenting multiple-genre playing on the Veena from classical and Vedam to western and folk! SAPNA was very happy to announce that they are privileged to confer the title “SriKalaPurna” on Smt. Kalyani Lakshminarayana later this year.

Throughout Saturday night, in an engaging “Veena Naadam Shringaara Kaavyam” presentation, Chicago Veena artistes Rajeswari Pariti and Saraswathi Ranganathan along with enthusiastic audience  participation entertained the audience with renditions of old movie songs in different languages, Western notes, Chitti Babu tunes. There was “Natyahela”, music and movement with graceful Priya Narayanan on Bharatanatyam and Saraswathi and Ganapathi on Veena and Mridangam. There was thoughtful poetry recitation “NishaGandhi”by ‘Pratibha Koumudi’ Sarada Sonty! followed by Suprabhaata Seva the next day at 4am by Rameti group of Chicago.

Rama Gurupalli and Jayshri Prasad gave wonderful Veena recitals and school showcases Sunday early morning. What a peaceful experience to listen to Veena at 5am in the morning. Young 14-year old Satvik Gurupalli’s energy at 7am was evident in his sparkling presentation of Dr. Chitti Babu’s Thilang Thillana!

The 24-hour marathon came to a conclusion with VeenaNaada Neeraajanam and Vedam Chanting! Once again SAPNA with its visionary leaders Saradapurna Sonty and Sriram Sonty, demonstrated their passion and commitment to preserving and promoting Indian Classical arts among youth and to the global community. The special 50-page souvenir released on this occasion is not just a visual treat but a great source of information as well, with well-wishing messages from eminent internationally renowned artistes! It is one of SAPNA’s special offerings every Veena festival.

After the conclusion of the 24-hr Veena fest, May 11 also saw celebration of Hindustani music! Tapan Bhattacharya delivered a traditionally strong Hindustani vocal recital in his stentorian voice to the wonderful accompaniment on Tabla by Dhananjay Kunte. Indrajit Banerjee on Sitar and Surbahaar soaked the audience with his soulful raga alaps and tumris to the skillful Tabla playing of Gourishankar Karmakar. Gundecha Brothers concluded the Hindustani series with their antiquely excellent classically melodious presentation.

The positive vibrations from the Veena are still joyfully echoing in our hearts. Enlightening the uninitiated. Calming the stressed. Kindling fire in creative minds. Inspiring the young and old. Illuminating the universe. “Jeeyaath Veena Naadam”!  Go Veena!


Thursday, March 15, 2012

Surabhi, A Melting Pot Of Music - presented by Ensemble of Ragas and Las Guitarras De Espana

Article courtesy : Asian Media USA (03/09/2012)    

Copyrights (c) - Asian Media USA   

Chicago IL: It was perfect -Surabhi – The mystic pot of never-ending fragrant creations, from Indian mythology. Fine ingredients went in – Sweet and spicy Indian, Spanish and Arabic music, A shot of Indian percussion, A generous drizzle of African and Latin drums, exotic flavors of Flamenco , Bharatanatyam and Gypsy dance – What brewed was a flavorful, delightful, joyful recipe that filled the audience heart and soul. For about two hours, the audience sat mesmerized, enjoying the aroma from the melting pot of music. 

The Consul General of India in Chicago, Mrs. Tomar graced the occasion. After a preview of the program by WBEZ talk show host Catalina Maria Johnson, the program opened aptly with Vande Mataram, the National song of India rendered by Shanta Ranganathan. 

Sara Ranganathan started the orchestra with a breathtaking elaboration of Raag Mayamalavagowlam. With one pluck of the string, Sara sustained the sound of the Veena for over two minutes and in that time, brought out the melody of Mayamalavagowlam in all its glory. The song continued with Chittibabu’s Shivaleela vilasam featuring Bharatanatyam by Vijayalakshmi. She portrayed the story of Ganga and Shiva with fluid grace and fine emotive expressions. When the folk tune started, it was a pleasant surprise to see Wendy Clinard join in Flamenco. The item continued with Solea featuring a full-length Spanish music with soulful Vocals by Satya Gummuluri and Patricia Ortega. Wendy’s energetic Flamenco had our foot tapping too along with hers. The next musical item was the signature Rhythms Indiana composed by Chittibabu.
Chicago, based on a Moroccan beat, was a lilting addition to the first set of musical items. Carlo Basile showed his expertise with Vibrant Spanish Guitar techniques while Martin Metzger joined with the slides on the Jazz Guitar. Alegrias, another Flamenco composition gave us a happy mood, and magically transported us to Spain! 

The second set started with a group song by the students of Ensemble of Ragas along with Vocals and Veenas. Seven veenas lined up, in a theater in downtown Chicago, was a beautiful sight. The kids were nicely dressed in traditional Indian clothes and looked adorable. The concert continued with Aboud Agha playing Oud. It was his first time with the Ensemble and the team had put together a composition in just one day. Aboud’s oud rendition was pleasing to the ears. The 10-beat Arabic rhythm was finely brought out. The music was named “Tiri” which translates in Arabic “to fly”. So, the isis wings with the gypsy dance by Vijayalakshmi was apt and a fantastic addition to this medley.

The highlight of the second set was the percussion special “Taal se Taal Mila”. Ganapathi Ranganathan on the Mridangam, Ravi Iyer on Ghatam, Dhananjay Kunte on Tabla, John Knecht on African drums and Bob Garrett on Latin

The concert ended with ‘Reverie’, a fine blend of Indian and Spanish rhythms with solo interchange between Carlo’s Guitar and Sara’s Veena. 

We hope this group keeps the music going in this cultural melting pot that is America. For more information on Ensemble of Ragas School of Performing Arts, visit www.ensembleofragas.org www.theguitarsofspain.com 

Copyrights (c) - Asian Media USA   

Sunday, September 18, 2011

The Magic of Veena - Vol 2

A refreshingly vibrant smooth play of the traditional South Indian instruments Veena and Mridangam, emanating an elegant grandeur and timeless appeal that is at once sparkling, energetic and uplifting.

Ensemble of Ragas presents its next music album "The Magic of Veena - Vol 2"

This album captures the melodies of Veena in conversation with the enthralling Mridangam in the hands of two highly talented artists - Saraswathi Ranganathan and Patri Satish Kumar

If you have always been looking for a Veena recital that resembles vocal music, yet delightfully brings out the beauty of the instrument - you have come to the right place! Perfect for listening to any time of the day. Great for special occasions. Stressed out? Listen to the soothing Endaro Mahanubhavulu. Want something peppy? download Raghuvamsha Sudha. Are you a fan of Purandara Dasa krithis? then listen to Rama Mantrava Japiso intricately embellished in Jonpuri raaga. For all you Mridangam fans, Patri Satish Kumar has enticingly accompanied the Veena - giving the music an added joyful pulsing energy.

Don't forget to check out the Laya Madhuryam in Rupaka talam which is a solo by Patri Satish Kumar - must listen to anyone interested in learning Patri-style solo (Mridangam) drums!

If you are looking to unwind at the end of the day - relaxing on your couch or squatting on the yoga mat or doing meditation - or simply introspecting, then consider listening to Saveri Alapana - a pure improvisation piece on the Veena by Saraswathi. You know, sometimes, cooking your favorite dish becomes more pleasurable than less of a chore when you have this music running in the background.

so, if you are cooking, exercising, unwinding, de-stressing, learning, meditating, simply relaxing or exploring another genre of world music, or want to listen to Indian classical instrumental music on Veena, this is a really really good buy - definitely no post-purchase remorse here - you are sure to enjoy this instrumental journey!

Recommended for listening : "The Magic of Veena - Vol 1" and "Thiruppaavai"

Thursday, May 5, 2011

Ganesh-Kumaresh Violin Concert Lemont temple, IL

Original – Creative – Energetic - Violin Duet
…those are the words that come up when one reminisces about the spectacular violin concert by Ganesh-Kumaresh brothers held on April 29, 2011, graciously hosted by HTGC Lemont, IL.
Here are some highlights from the evening. The concert started off on an in depth purely classical note with the unique multihued bowing techniques and almost vocal-like handling of the violin that sent the rasikas on a delightful journey to musical paradise. 

A music-lover’s treat, Raaga Naasikaabhushini was given excellent treatment in the hands of Ganesh and Kumaresh with the subtle nuances of the raaga brought forth beautifully through swara prasthaara.
The duo presented Saragunapalimpa, the grand stately krithi in Kedaragowla raga with all its royal bearings – embellishing with alapana and swara prasthaara. Ganesh surprised the audience by picking up the mic and singing kalpana swaras. Especial mention should be made of the pattern – sndpmgrs – ndpmgrs – dpmgrs – pmgrs – mgrs – grs – rs – s used as a muktaayi. The audience was very appreciative of that!
The piece de resistance of the evening came in the form a Ragam Tanam Pallavi in tri-raaga-maalika: Ranjani, Janaranjani and Shreeranjani. When asking the audience to pick a raga for RTP, some voted ranjani, some voted Shreeranjani: so Kumaresh quipped: “buy one get two free (ragas)!!” and they played the pallavi in all three ragas. 

The presentation of the pallavi seemed meticulously planned: they played alapana in Ranjani, tanam in Janaranjani and pallavi in Shriranjani!! Tanam in Janaranjani was exquisitely ornamented with bowing and plucking techniques on western music-like notes in the lower octaves Ps Ps ps -Pr Pr pr – Pg Pg pg – Pm Pm pm - Ps Pr Pg Pm. If you are like this author, you would challenge yourself to remember the pallavi notes. It went something like this: S srgm G; ;R rgmdM; G;;gmdn | S;;; grsnd rs NDM nd M,G, R,|| 

In addition to the conventional playing in three kalams, Ganesh-Kumaresh included a fourth kalam – which was was at an incomprehensibly blistering speed! They did neraval in Janaranjani and Ranjani followed by kalpana swaras again in Janaranjani, Ranjani but now adding a whole other dimension with ragamalika swaras in Kaapi, Vasantha, Revathi, Varaali, Naatakurunji, Hamsaanandi, Abheri, Malayamaarutha, Swarasamyojini. Subsequently they started playing swaras in the second speed of tisra nadai and in the fourth speed, leaving for tani avarthanam.

The tani avarthanam was a real treat to the rasikas: where would you have heard the kind of Mridangam playing that is as handsome as thunder and rain yet gentle and soft as a flowing mountain brook? Thanjavur Govindarajan on the thavil delighted the audience with his playing techniques. Where there were improvisations involved, what was interesting was the co-ordination between Mridangam Patri Satish Kumar and the Thavil Thanjavur Govinda Rajan. It seemed like Patri Satish Kumar could feel the pulse of the main artist and play in such perfect sync that it was temptingly – almost dangerously pleasing: the rasika felt like throwing their shoes up and dancing! Imagine over 200 people tapping feet……yes, it could be dangerous!
Patri Satish and Govindarajan interspersed their Tani with different nadais and korvais. The speed and unique handling of the left side of the Mridangam by Patri Satish seemed to emanate sounds not quite heard of before, presenting the rasikas with a delightful ‘laya madhuryam’.

Any instrumental practitioner will know that achieving technical mastery over the instrument is a lifetime saadhana: speed in itself is just one of the dream goals: what makes it beautiful is precision and melody in speed and that can stem only from 99% perspiration. Ganesh-Kumaresh played swara prasathara at a mind-blowing fourth kaalam for a whopping 8 minutes continuously! And equally talented Patri Satish displayed a highly skillful speed-play incessantly for nearly 5 minutes. Now five to eight minutes might seem less to many: but to someone who is doing saadhana on an instrument will agree that playing at such high speeds even for a minute is an extremely arduous task. The artists made it seem like it was as simple as sipping coffee! 

The evening concluded with popular ‘tukkadas’ like ‘Tamburimeetidava’, Bhagayadalakshmi baaramma’, nagumomu galavani, interspersed with singing songs ‘Aazhi Mazhai Kanna’ in Behag composed by Kavi Kannan– which again was a treat to the discerning ear!
Thanks to HTGC for bringing this fantastic concert experience to the music connoisseurs of Chicago! A standing ovation to the talented artists and HTGC! 

Sara Ranganathan, for India Tribune.

Saturday, October 30, 2010

Ensemble of Ragas presents Abhinava Ganamritam

Abhinava Ganamritam – a refreshing shower of music and dance

There were seven of them on stage - Veena, Flamenco Guitar, Jazz Guitar,
Drums, Tabla, Ghatam and Mridangam. It seemed as though they were personifications of the Sapta Swaras ( seven notes) of music !

Ensemble of Ragas School of Performing Arts, Schaumburg presented their first production "Abhinava Ganamritam" - a refreshing shower of music and dance on Friday October 29 at 8pm at the Schaumburg Prairie Arts Center.

The event featured an instrument ensemble with artists from
different genres presenting classical and contemporary
interlaced with two classical dance forms - Bharatanatyam and Kathak. The theme of the program was classical-contemporary music-dance with an international flavor and oneness of spirit. The evening was dedicated to the legendary Veena Maestro Chitti Babu.

This first production from Ensemble of Ragas School of Performing Arts featured
Saraswathi Ranganathan on the Veena,
Carlo Basile on Flamenco guitar,
Martin Metzger on Jazz guitar,

Joel Martinez on Latin drums,
Dhananjay Kunte on Tabla,
Ganapathi Ranganathan on Mridangam
and Ravi Iyer on Ghatam.

Vijayalakshmi and Katyayani were the
featured Bharatanrityam and Kathak dancers. The special prayer song
for the invocation was lead by
Shantha Ranganathan along with the enthusiastic student team from Ensemble of Ragas.

The program started with a beautiful group prayer
song followed by “Aavaahana” a composition
of Chitti Babu from the album ‘Temple Bells’
featuring Bharatanatyam and Kathak .

“Rhythms Indiana” – a foot-tapping tune composed by Chitti Babu from the album ‘Musings of a Musician’ got the crowd up on their feet. The artists were having fun with the beat and the music.

Saraswathi Ranganathan then started the Raga elaboration in Bahudaari followed by Thanam.
Her expertise in handling the Veena showed, especially in the Thanam. The team then performed “Bahudaari”. The “Thani Avarthanams” (exclusive round of performance) by each musician on their respective instruments were superbly presented.

“Kalyaani” – a fast classical raga (melody) based number featured dance once more.

The finale item was called “Reverie” from the album ‘Musings of a Musician’. It was both soothing and exciting at the same time to listen to this masterpiece. The exclusive Guitar solo pieces from the song was a treat to listen to.

Each instrument in the ensemble, both strings and percussion, was unique but yet , together they sounded original and well-blended at the same time.
One might have seen many "fusion" concerts
but in this concert,
it felt like each style of music
stayed in its original form and was presented
at its best.

Sara concluded the program with a Vedam peace mantra on the Veena.

The Senior Trustee of the Village of Schaumburg Mr. George Dunham, graced the occasion as the Guest of Honor and released the latest production from Ensemble of Ragas –
‘Thirumvempavai and Kolaru Thiruppadigam’.

Dr. (Mrs.) Sharada Sonty, Founder of SAPNA spoke
words and felicitated the artists.
Her presence was mu
ch appreciated by both the artists and the audience.

Mr. Sayee Challapally, son of Veena Maestro Chitti Babu, spoke fondly of his Dad. Throughout the
practice sessions and rehearsals, he had participated with great involvement and had given valuable feedback. He quoted thus
veena is as old as the vedas and as modern as tomorrow" !!

Co-sponsors for the evening included SAPNA
(Sri Annamacharya Project of North America),
an organization that pioneers the preservation and propagation of Indian classical music, TutorDoctor, a leader in providing affordable one-on-one
supplementary education to students and adults, and TV Asia represented by west bureau chief Vandana Jhingan.

The art-loving crowd was treated to unique
IndoClassical-Jazz-Flamenco instrumental beats
interwoven with fluid
Bharatanatyam and Kathak movements.

It was indeed a memorable evening. Congratulations.

Well done.

PS: Thanks for all your comments. We cherish your feedback in our hearts. We have noted down points for improvement and look forward to your support and encouragement in the future.

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Friday, April 23, 2010

Mandolin U.Shrinivas and U.Rajesh concert at Lemont Temple IL

An evening of captivating heavenly music
HTGC Temple April 23, 7:45
- Saraswathi Ranganathan

It was almost 6pm on Friday and my brother and I wheezed our way through the heavy evening traffic. We didn’t want to be late to our most favorite carnatic instrumental concert! This was being hosted jointly by HTGC and CTU, the stalwart organizations dedicated to preserving and promoting classical music.
The concert started with the majestic Thodi Adi Tala varnam ‘Eraanaapai’. This was a pleasant surprise as I had not expected Shrinivas to actually play my request number – I was on cloud nine, already, and the concert had only just begun! I want to mention something here: I find that a lot of artists dwell in the raga for a long time before they actually warm up and get to the essence of the raga: not so Shrinivas - just one or two notes caressed lovingly on the Mandolin is all a rasika needs to grasp the raga: the depth and simplicity of this maestro’s music never ceases to amaze me! A couple lines of Thodi were all it took – it left everyone wanting for more: Incredible. Period.

This was followed by the famous Dikshitar krithi in Hamsadhvani, ‘Vatapi Ganapathim’. The song brought nostalgic memories to me. I remember when Shrinivas first became famous in the early eighties, I was so in love with his music (I still am, of course!), that my dad gifted me with Mandolin’s very first audio cassette that featured Vatapi Ganapathim! That was my most memorable birthday gift to date – a luxury for me! I still play all the sangathis that I learnt from this tape, especially the ones at ‘karaankusha pasha’. I was waiting for Shrinivas’ various nuances at this very spot in the charanam – I was not disappointed at all! Time, and time again, he brings out a different hue to the same raga same song even the same sancharam. Absolutely refreshing! 

Jagadanandakaraka, Thyagaraja’s immortal pancharatna krithi was next. From the days that I have been following Shrinivas’ concerts, I have observed that he plays one of the pancharatna krithis in almost every concert. What is interesting about Shrinivas is that his instrument defies all tradition, his music revolutionary, he brings such youthful vibrancy to every performance, yet the total result is all purely carnatic. Not surprisingly his audience ranges from aspiring carnatic musicians to youngsters who have no idea of carnatic music, to seasoned rasikas who still walk out of the concert in complete collective disbelief at this wonderful phenomenon. Everyone seems to get a piece of what they are looking for.  

A brief but very melodious alapana in Arabhi preluded Thyagaraja’s krithi ‘Nadasudha’. I especially liked the play around the phrase ‘rrmm rrpp rrdd rrRR sndpmgr’. The arabhi sancharas in all the sthayis (octaves) was breathtaking. I found that every phrase Shrinivas delivered seemed to be soaked in Arabhi! 

The reader must have noted by now that the concert has been featuring common krithis: that was because Shrinivas was trying to accommodate the rasikas wish list! He even joked that the list was pretty short! 

What followed was the all-time favorite of most listeners – Thyagaraja’s evergreen ‘Nagumomu’ in Abheri. A beautiful alapana, brilliant swara prastharam, a neat mukhtayi reaching a crescendo and a sudden descent to the lower octave in a different frequency gave a dramatic effect. 

I must add that Shrinivas’ brother Rajesh also enthralled the audience with his command over the instrument. Rajesh gave an outstanding performance on all aspects, be it raga vinyasa, or swara prasthara, significantly embellishing the concert, to the delight of the audience. 

Shrinivas handled hindolam in a simple yet grand manner, a song ‘Chandrashekara Saraswathi’ set to Khanda chapu talam. I especially loved the fast phrase sgmdmgsnS – snsgssnndd - gds 
Was it lightning? thunder? hailstorm? blitzkrieg? NO. It was ‘raghunatha nannu’ in Swararanjini raga composed by Ramnad Shrinivasa Iyenger – rendered in less than 4 minutes on the Mandolin. This song has been made famous by Shrinivas: I remember it from the notes that I still have from one of his concerts way way back in Bangalore. I had to write down the notations as quickly as I could while he was playing. I didn’t have the privilege of a tape recorder at the time. 

After the brilliant lightning and torrential downpour in the first half of the concert, the rasikas were treated to beautiful spring sunshine replete with gurgling mountain brooks, fragrant blossoms and a delightful waft of pleasant breeze in keeravani- ramapriya RTP entitled “rama shrirama sharanam – jaya rama jaya jaya rama”. It is a musician’s challenge playing this raga combination. It was handled with enviable ease and aplomb. The tanam was in a graceful tranquil tempo. The transition to these two ragas from the tara shadjam was sheer magic.  

The rasikas had a feast in the ragamalika swarams featuring nalinakanthi, reetigowla, jingla, ranjani, alternating keeravani and ramapriya – finally culminating in a simple yet rhythmically elegant mukthayi. The feast continued with the outstanding tani avartanam by Madirimangalam Swaminathan on the Mridangam and S V Ramani on the Ghatam. These two percussionists teamed up for an extremely enjoyable, technically precise rendition that brilliantly captured every subtle rhythmic nuance of music emanating from the Mandolin: embellishing the embellished! 
The listeners were enraptured in the ‘tukadas’: ‘venkatachalayam’ in sindhubhairavi, the ever-favorite ‘brahmamokkate’, ‘ennathavamseidhanai’ in kaapi, a sai bhajan ‘premamurthy’ in darbarikaanada. 
The concert concluded with Lalgudi’s thillana in Mohanakalyani followed by Mangalam. 

As we were driving back home, we were still in a musical dizzy. What an evening! U Shrinivas is a rare gem: Very few artists are truly great maestros - in their music the distinction between the instrument, the artist, the song, the audience, everything vanishes: all that remains is pure musical bliss – time seems to stand still – drenching us in the quintessence of nadopasana! 

We reached home. I felt energized, motivated and happy - I slept soundly, still on cloud nine: one of the many side effects of being immersed and permeated in divine music! Dear Shrinivas – Chicago needs you. Again. 

Article by an ardent fan of Mandolin Shrinivas:


To contact the author write to worldmuziq@gmail.com