Hi Friends,
How are you? Previously you have seen some articles in our blog regarding Guru Shishya Parampara.
Now you are going to listen about our Guruji Shri Shringeri H S Nagaraj's the best shishyas.
This is really a big pleasure to one guru when he listen some good words about his shishyas from any third party.
Our Guruji is a very calculative person, who chooses everybody as a student; but while he chooses any shishya, he/she should be very much able to be a shishya to them.
Till now our guruji has seen a number of students, but a finger countable shishyas; in that list, our guruji is very much proud on Vid. Shreemati Ramya Murali. She done her shishya vrutthi in shimoga with a very much devotion and dedication.
She completed her Vidvath and M Music with guruji's guidance. She is the one of the best shishye to our guruji Vid. Shri Shringeri H S Nagaraj.
She given her concert in Mysore on 18th March 2010. Let's know about the concert in the words of Mr S R Krishna Murthy.........
The third day concert before Ramanavami was a vocal recital by Ramya Murali of Shimoga at Krishnamurthypuram Rama Mandira on March 18. She is a disciple of Sringeri H.S. Nagaraj of Shimoga, who now resides in Hyderabad after marriage. Her presentation marked sincerity.
She was accompanied on violin by M.P. Arjun, on mrudanga by P.S. Sridhar and on ghata by S. Manjunath.
Chaotic situations prevailed right from the beginning of the concert. First it was the artiste who was new to Mysore and missed her way, roamed around the city and came late. When she was on platform, the sound system stopped working. The person in charge was on leave. So all and sundry tried their hand in rectifying it including yours truly and it started working by 7 pm. She began singing and the microphone for violin stopped working. Another ten minutes gone. Exactly at 8 pm, the power was cut and inverter took over. Since they had used the inverter from morning, it had very less charge and it started giving low battery signal by another 20 minutes.
What manodharma any artiste will have in such a situation? It is rare for the budding artistes to get a platform. If such things happen, they will underperform and start losing interest. Under such a chaotic situation, Ramya Murali began her concert with a Varna in Abhogi, "Evvari Bodhana" set to Adi, composed by Patnam Subramanya Iyer. The two ragas Gowla and Nata are normally considered auspicious for the initiation of a Kacheri. She sang both ragas in "Sharanu Siddhi Vinayaka" of Purandhara Dasa and "Namo Namo Raghukuka Nayaka" of Annamacharya, though the Swara Prasthara for the latter appeared to be a wee bit lengthy.
Then she took up a prolonged Alapane in Bilahari. The respo-nse of the violinist was superb in his Tani Alapane. She chose a composition of Tyagaraja "Tolijanma" set to Khanda Chapu, for rendering. There was another lengthy Swara Prasthara in which it appeared she had some difficulty in negotiating Tara Sthayi passages. "Odi Barayya," the charming Purandhara Dasa kruthi in Bhairavi was quickly over before she took up another prolonged Alapane in Vasantha, leading to "Seetamma Maya-mma" of Tyagaraja.
The main raga Shanmukha Priya was once again treated to another extensive Alapane, delineating the raga in all its glory. "Marivere Dikkevarayya Rama," composed by Patnam Subramanya Iyer in this raga is a popular one and her homework in different sangathis of Kruthi and Neraval line at "Sannutanga Shri Venkatesha" could be seen.
Some different combinations of Swara were the highlight of the Swara Prasthara, which was followed by a Tani Avartana by the percussionists. Sridhar on mrudanga is capable of pleasing the audience and Manjunath in following him on ghata.
One interesting song among tail pieces was a Kruthi of Pura-ndhara Dasa "Giliyu Panjaradolilla," which has been used in a drama "Sattavara Neralu" for which music has been scored by B.V. Karanth and she sung in the same tune. The last one was "Uyyalaluguvayya" of Tyagaraja in Neelambari, in which Sri Rama is cajoled to sleep.
The initial chaos tested the patience of the audience and made the kacheri look an ordinary one. I personally feel that one should listen to her in happier circumstances.
She was accompanied on violin by M.P. Arjun, on mrudanga by P.S. Sridhar and on ghata by S. Manjunath.
Chaotic situations prevailed right from the beginning of the concert. First it was the artiste who was new to Mysore and missed her way, roamed around the city and came late. When she was on platform, the sound system stopped working. The person in charge was on leave. So all and sundry tried their hand in rectifying it including yours truly and it started working by 7 pm. She began singing and the microphone for violin stopped working. Another ten minutes gone. Exactly at 8 pm, the power was cut and inverter took over. Since they had used the inverter from morning, it had very less charge and it started giving low battery signal by another 20 minutes.
What manodharma any artiste will have in such a situation? It is rare for the budding artistes to get a platform. If such things happen, they will underperform and start losing interest. Under such a chaotic situation, Ramya Murali began her concert with a Varna in Abhogi, "Evvari Bodhana" set to Adi, composed by Patnam Subramanya Iyer. The two ragas Gowla and Nata are normally considered auspicious for the initiation of a Kacheri. She sang both ragas in "Sharanu Siddhi Vinayaka" of Purandhara Dasa and "Namo Namo Raghukuka Nayaka" of Annamacharya, though the Swara Prasthara for the latter appeared to be a wee bit lengthy.
Then she took up a prolonged Alapane in Bilahari. The respo-nse of the violinist was superb in his Tani Alapane. She chose a composition of Tyagaraja "Tolijanma" set to Khanda Chapu, for rendering. There was another lengthy Swara Prasthara in which it appeared she had some difficulty in negotiating Tara Sthayi passages. "Odi Barayya," the charming Purandhara Dasa kruthi in Bhairavi was quickly over before she took up another prolonged Alapane in Vasantha, leading to "Seetamma Maya-mma" of Tyagaraja.
The main raga Shanmukha Priya was once again treated to another extensive Alapane, delineating the raga in all its glory. "Marivere Dikkevarayya Rama," composed by Patnam Subramanya Iyer in this raga is a popular one and her homework in different sangathis of Kruthi and Neraval line at "Sannutanga Shri Venkatesha" could be seen.
Some different combinations of Swara were the highlight of the Swara Prasthara, which was followed by a Tani Avartana by the percussionists. Sridhar on mrudanga is capable of pleasing the audience and Manjunath in following him on ghata.
One interesting song among tail pieces was a Kruthi of Pura-ndhara Dasa "Giliyu Panjaradolilla," which has been used in a drama "Sattavara Neralu" for which music has been scored by B.V. Karanth and she sung in the same tune. The last one was "Uyyalaluguvayya" of Tyagaraja in Neelambari, in which Sri Rama is cajoled to sleep.
The initial chaos tested the patience of the audience and made the kacheri look an ordinary one. I personally feel that one should listen to her in happier circumstances.