R K Srikantan
Carnatic music has developed many features. The idea of raga tala in our music is unprecedented in the world. A prime feature of our classical music is the innumerable design patterns of basic tones and rhythms. Among the traditional rhythm instruments we have, Mridanga is also a wonderful rhythm instrument. And headphones too. Karnasubhaga As the sound of that instrument rings out, the collaboration of this mridanga instrument in our concerts is very beautiful and inspiring for singer-players. Vidwan A.V. is one of the famous scholars of our country who mastered this instrument. Anand is the best. Stable timing, pure knowledge of rhythm, attractive playing style are his features. Even in rhythm, blood has priority. This quality should also be present in mathematical consciousness. This quality is the main aspect of Mr. Anand’s rhythmic style.
The tone production on the mridanga instrument, the clear pronunciation of various varases, urutus, the trick of playing in between, the smooth coordination of the left and right of the instrument, the use of solids, these are the features of Anand’s style, the beauty of the works is his skill in bringing out the inherent rhythm in them. His style of playing classical compositions is very elegant. The reason is that Mr. Anand’s music is experienced and contributed. Anand’s ability to provide mridanga support to both singers and instrumentalists according to their caliber. Anand’s aim is to make the office sound like a weed and to be appreciated by the fans. Realized the gesture of scholars. The art of playing belongs to Anand, Vidwan Anand is famous for giving mridanga support to all the great scholars of our Carnatic music. He has personally helped many of my offices and weeding the office. On this occasion, I wish that all my offices given with him are still memorable, simple, virtuous and devoted to God and Guruhiri, scholar Shri Anand will get more statuses and awards.
T A S Mani
I have known Shri Anand for probably decades. I have heard about him since the days of studying under the respected Ghata master of our country, Vidwan K.S. Manjunatha. With the utmost dedication, hard work, and despite being employed in a government factory, Shri Anand emerged as a highly sought-after talented Mridangam player in his life. With dedicated practice, devotion to the Guru and continuous contemplation, he has become the senior artist of today. The coordination of the rhythms is the hallmark of his playing. Shri Anand has successfully carried out the responsibility of shaping his own style by listening to the playing of senior stalwarts for many decades and handing over the art to the next generation. Shri Anand is truly praiseworthy. He has been a mentor to many talents and has also been responsible for the growth of the field. It is not an exaggeration to say that there is no meeting or forum where Shri Anand, who has collaborated and is collaborating with all the greats of the Carnatic music field, has not played the mature accompaniment instrument (Mridangam) in the future. Although he has retired from a senior position in his career, Shri Anand is still at a high position in his career and has earned a name as a practitioner and teacher. His service suggestions as a senior member of the Textbook Production Committee of the Education Department are very valuable. The advice and guidance I received from him in this direction for this work were very memorable. I sincerely hope that Shri Anand continues to provide continuous service to the music field and that he has already been honored by many senior organizations. I sincerely pray that the Almighty God will bless him with even greater levels of government and non-government honors.
Shri K.N. Krishnamurthy
About 60 years ago, I met Shri A.V. Anand when he was still Master A.V. Anand. At that time, I saw and heard him playing the Mridangam accompaniment to the great Sangeet Vidwan Shri Chembai Vaidyanath Bhagavat. His guru, Ghatam Shri K.S. Manjunath, has encouraged me a lot since my childhood. On some occasions, he has even given me a Ghatam and encouraged me to play concerts. I have known Shri Anand since then and have been playing concerts with him. Shri Anand’s father, Di|| A.Venkobachar, has a lot of confidence in me and he has also encouraged me a lot.
Sri Honnappa Bhagavat, Sri Dr. R.K. Srikanthan, Bombay sisters, Sri H.R. Seetharama Sastry, Sri A. Subbarao, Sri Sattur Subramaniam, Srimati Seethalakshmi Venkatesan and many other artists, we have played concerts together. Sri Anand, Sri Anur Ramakrishna and I have visited concerts in the outlying towns many times. I still remember the good times we had then and am happy. A perfectionist in playing. A letter is not only a hindu but also a rhythm. With immense success, he has made his playing his own property. Classical fingering, not a single unnecessary sound. This was the style of playing of Sri Pal Ghat Mani Aikkar. Similarly, the style of playing with the soul of Sri Palani Subrahmanya Pillai is seen in Sri Anand’s playing. He has been playing the Mridangam for many years, teaching his disciples, and working hard for music. As a result of these achievements, he has received many awards, prizes, and titles. To come to the forefront, the full blessings, encouragement, encouragement, and cooperation of the Guru must always be there. All these are perfectly available to Anand. Being senior in age, on this occasion, I extend my blessings and congratulations to Sri A.V. Anand.
Shri Sosale Seshagiri Das (Khanjari scholar)
I have known Shri Anand for probably decades. I have heard about him since the days of studying under the respected Ghata master of our country, Vidwan K.S. Manjunatha. With the utmost dedication, hard work, and despite being employed in a government factory, Shri Anand emerged as a highly sought-after talented Mridangam player in his life. With dedicated practice, devotion to the Guru and continuous contemplation, he has become the senior artist of today. The coordination of the rhythms is the hallmark of his playing. Shri Anand has successfully carried out the responsibility of shaping his own style by listening to the playing of senior stalwarts for many decades and handing over the art to the next generation. Shri Anand is truly praiseworthy. He has been a mentor to many talents and has also been responsible for the growth of the field. It is not an exaggeration to say that there is no meeting or forum where Shri Anand, who has collaborated and is collaborating with all the greats of the Carnatic music field, has not played the mature accompaniment instrument (Mridangam) in the future. Although he has retired from a senior position in his career, Shri Anand is still at a high position in his career and has earned a name as a practitioner and teacher. His service suggestions as a senior member of the Textbook Production Committee of the Education Department are very valuable. The advice and guidance I received from him in this direction for this work were very memorable. I sincerely hope that Shri Anand continues to provide continuous service to the music field and that he has already been honored by many senior organizations. I sincerely pray that the Almighty God will bless him with even greater levels of government and non-government honors.
Shri A Veerabhadraiah
On Sunday evening, the last day of the worship festival of Sadguru Shri Thyagaraja, the last concert of the last day was Kodandaram’s magnificent Nagaswara Vadan. The accompaniment was T. S. Krishnamurthy’s violin, A. V. Anand’s mridangam and Anant Krishnasharma (Shivu) dolu.
‘When God is realized, Brahmananda is experienced. If a human being has to experience a piece of this Brahmananda, it must be through music,’ say the elders. Kodandaram played the magnificent work ‘Inta Saukhyamani’. After a neat vocal arrangement, the mridangam-dolu solo was played.
I think that all the art lovers present there truly experienced that great joy from this music, which was dedicated to the Guru with complete devotion and devotion. Anand-Shivu’s scholarly solo performance is something that will remain in the memory for a long time. It is always refreshing to remember. The title of ‘Lay Kala Nipuna’ that was available to him after hearing Anand’s rhythmic design that day became a name for him. Also, I wondered if he was really 60 years old. After the concert, Anand said to him, ‘You may be 60 years old. But your fingers are still 16’, such a sure rhythmic design. It is not an exaggeration to say that this is the experience of 60 – the influence of the combination of the energy and enthusiasm of 16.
When Sangeetha Ratna Sri Chowdaiah started the Sri Ayyanar Kala Shale in Bangalore in the 1950s, the first secretary was Sri A. Venkoba Charya. He himself was a mridangam player. His son was the child prodigy A. V. Anand. He was a prominent disciple of the world-famous Ghatam Manjunath. Manjunath’s guru and life guide were the venerable Gaanakalabhushan L. S. Seshagiri Raya, and Seshagiri Raya’s elder brother was my guru, Pujya L. S. Narayanaswamy Bhagavat. Thus, I am very proud to call Anand my Gurubandhu. Similarly, I have known Anand since childhood. I have seen step by step how this child prodigy of those days has now blossomed into a top-level artist of our country and is flourishing. I am happy to see him. Today, our Anand is a sought-after and highly sought-after mridangam player, thanks to his hard work, vast experience, and pleasant demeanor. There is a belief among fellow artists that if Anand plays the mridangam, the concert hall will be filled with joy and everyone will appreciate it. Our Anand has maintained and developed this belief.
As I said earlier, it is hard to believe that Anand has maintained his health so well for 60 years. It is a matter of great joy and a fitting duty for his disciples to organize a ceremony to honor him on this auspicious occasion of his sixtieth birthday. I extend my heartfelt congratulations to Shri Anand and sincerely wish that this unique and unique artist, who has brought immense glory to our country, may God bless him with all the facilities, may his artistic service continue and may this legacy grow immensely.