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Born in 1926, Manik inherited a large fund of artistic talent from her mother who was a distinguished artiste herself. She started her music career at a very early age and cut her first disc when she was hardly twelve years old. She had her early training in classical music from the late Sureshbabu Mane and Ustad Inayat Khan. Later, she came under the training and guidance of Pandit Jagannathboa Purohit ‘Goonidas’.

Gifted with a sweet mellow voice, she has evolved an arresting expressive style of her own which has hoisted her high in fame and popularity. Her broadcasts from the various stations of the All India Radio and her frequent appearances in public concerts have won for her a vast admiring following which is spread far and wide. Known to-day as a fast-upcoming-artiste, there is little doubt that she will move rapidly to tak her place amongst the top rankers in the firld. She has to her credit numerous successful discs containing Bhavgeets, Bhajans and stage songs. Her brilliant performance on this disc displays her virtuosity as an exponent of classical music of a very high order.

SIDE ONE

On this side is rendered Raga – JOG-KAUNS, a mixture of Ragas Jog and Malkauns. The credit for the creation of this Raga of the night category goes to her tutor ‘Goonidas’. The opening composition ‘Sugar Bar Payo’ is confined to a rhythmic cycle of twelve beats known as Ektal. The 2nd note, Rishabh, is completely omitted in the exposition. The melody permits the use of both flat and shartp Gandhar (3rd note) and Nishadh (7th note). But the 6th note, Dhaivata, is flat both in the ascent and descent. A very judicious use of the dominant note – Pancham (5th note) is very pleasing and attractive. The artiste gives an elaborate treatment to the development of the Raga through this composition and then switches over to a faster composition in the same Raga but in the Teental rhythm structure which has 16 beats.

The veteran player Prof. V. G. Jog, who is an artiste of high merit in his own right, has enriched both the sides with his competent and able support and accompaniment. The entire performance exercises a tranquilizing effect upon the listeners and leaves them soothed and serene.

SIDE TWO

On this side are offered two Ragas. The opening item is in Raga Bhatiyar. This is a morning melody and it permits the use of both flat (Komal) and sharp (Teevra) Madhyamas (4th note) and the flat Rishabh (2ndnote). Within the brief confines of about 12 minutes of performance Smt. Varma gives a very lucid exposition of the Raga by employing fascinating note-combinations. The rhythm to which the two compositions in this Raga are sung are Ektal and Teental respectively.

The second band reproduces a Bhairavi Thumri. The lilting composition is already very well-known and popular. The artiste executes the piece in a masterly manner, giving delicate and subtle touches as well as bold flashes to bring out fully the sentiments embodied in the song.

Bhairavi is essentially a morning Raga but convention has it that it can be performed and heard as a concluding piece at any time of the day or night. The rhythm consists of 14 beats and is known as Deepchandi.