Pleasing tonal quality

MAINTAINING PLEASING tonal quality and perfection of notes, N. Ramani played placidly on the flute for the Nungambakkam Cultural Academy Trust. The charm of Sahana was exposed by him engagingly through his recital of the opening varnam `Karunimpa''. Projecting a graceful form of Begada, Ramani delivered the kriti, Sankarinive with a perception of the details of its classical effulgence.

The artistic stateliness of Kalyani was displayed faithfully in a mode of serious raga representation. The piece Nidhichalasukhama of Tyagaraja was presented in a delightful diction.M. Chandrasekharan added to the recital's effectiveness with his veteran's touch on the violin.

He drew `beautiful' sketches of Begada and Kalyani. Palghat R. Raghu sustained the recital's metrical glow with his shapely solkattus on the mridangam. In association with G. Ravichandran on the ghatam, he presented a misra thani full of engaging metrical expressions.Assisted ably by Narmada, Parur M. S. Gopalakrishnan enthralled the gathering with an exhilarating concert on the violin.

The duo's felicitous execution of the opening varnam, Kanakangi of Pallavi Gopala Iyer set to Ata tala was reflective of their appreciation of its musical magnificence as a monumental piece depicting the fullness of Thodi in an aesthetically vibrant form. Following a moving recital of ``Vallabhaanayakasya'' of Muthuswamy Dikshitar in Begada, the artistes depicted `Enthanerchina' displaying its finesse. The piece was preceded by a resplendent raga sketch drawn by M. S. Gopalakrishnan.

MSG's portrayal of Varali was graceful with the emphasis on the details of its strength as a ghana raga.

The duo's delineation of `Mamava Meenakshi' of Muthuswamy Dikshitar succeeded it in a form replete with rigorous Carnatic instrumental embellishments. Narmada drew a nuanced sketch of Sahana.

Palghat R. Raghu and young A. Anand enriched the recital's contents with their stimulating percussion accompaniment on the mridangam.

- R.V.

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