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A question of expression
THE CHOICE regarding the technique of expression before an artiste is between the meditative and the pretence of the sensitivity of Carnatic music. A true rasika has to see, besides just the popularity of an artiste, whether there was anything noteworthy in his/her cutcheri beyond the clichéd ideals. Diversity of styles sprawl all around, but the essence of the refinement that Carnatic music demands has eluded many. It does not seem to be an age for grandeur and epic standards of Carnatic music but for counterfeit excellence betraying infirm commitment to true classicism. Recitals are either lip sympathy or loud throated like drama music of old times when there were no mikes.
These thoughts arouse on hearing Aruna Sayeeram under the auspices of Kartik Fine Arts observing Sri Tyagaraja day. An exceptional tonal frenzy, often ear-shattering, seemed to have dictated her attitude to the performance. She kept at arm's length the tenderness of tone that is normally associated with women singers. Seduction, not sublimity, was the driving force in her technique and brazenness of rendering kirtanas ruled the concert. It was well established even at the start with the Gowlai pancharatna, "Dudukugala". She sang this piece with such strident assertiveness as to transform the emotion of the gnawing self-pity of his failings embedded in the sahitya by Sri Tyagaraja into an exhilarating glorification of the sentiments as an achievement in life. The start of "Saakshaatkara Nee" in the most moving song, "Mokshamugalada" looked like a drama actor of earlier days entering the stage loudly singing the line from the sidelines. The same approach was to be seen in the other songs, "Sri Ramya Chittaalankara" (Jayamanohari), "Dunmaarga" (Ranjani) and "Nee Dayaraadaa" (Vasantabhairavi). Neyveli Narayanan (mridangam) with melkala tekas fuelled the aggressiveness of Aruna Sayeeram's method. S. V. Ramani (ghatam) was equally responsive to Neyveli Narayanan. The only sober interpretation came from Embar Kannan (violin).
Earlier, R. Janani sang "Ninne Bhajana" (Nattai) "Badaliga Teera" (Ritigowla), "Anupama" (Atana) and "Emi Jesitenemi" (Todi) without rhetoric articulation. The concert was not just a bundle of techniques but a clear understanding of the aspects of classicism. The raga alapana of Ritigowla could have been brief to pinpoint the shades of the raga. Todi was well elaborated. Srilakshmi Venkataramani (violin) and K. V. Gopalakrishnan (mridangam) were the accompanists.
In the Ranjani-Gayatri performance for Laya Lavanya Fine Arts Foundation, Gayatri sang a Sahana that refused to leave the hearts of rasikas. She flung open the windows of sensitive, refined and mellifluous Sahana where the rakti of the raga was imaginatively conceived and laid out in aesthetic sancharas. Forming the most exalted part of the recital, it was an emotionally melodic investigation of the succulence of Sahana.
The response from Akkarai Subbulakshmi (violin) was equally discerning mature delineation with rare charm. The intensity of her insight into the sweetness of Sahana was deep and deft. The kirtana was "Emaanaditchevo" marked by delightful delicacy truly reflecting the fine sentiments of the sahitya.
Earlier, the Mayamalavagowla song, "Meru Samaana" had a reverential treatment at their hands. Later Ranjani and Gayatri shared an elaboration of Todi that could not make a dent on Sahana's impact.
If it is a Todi kirtana of Syama Sastri, it cannot be anything but "Ninne Namminaanu" at the hands of every musician so much so it has been drained of all its aesthetic aspects. Ranjani-Gayatri concert revealed the blessings of refined musical impulses.
Erode K. S. Nagarajan (mridangam) in association with Guruprasad (ghatam) shared the excellence of the cutcheri with judicious percussive support containing manifold manipulation of patterns and korvais.
Before the concert, Laya Lavanya Fine Arts Foundation honoured the senior mridangam exponent Madurai Srinivasan _ SVK
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