Rendered with depth and emotion

THE SANGEETHA Kalanidhi-Elect for the 73rd Annual Conference of The Music Academy, T. K. Govinda Rao presented the morning concert on December 27. He was accompanied by Vittal Ramamurthi on the violin, Bangalore V. Praveen on the mridangam and Srirangam S. Kannan on the morsing. The opening song was Dikshitar's `Tyagarajaya namasthe' in Begada set to Roopaka Tala with a few avartanams of sarvalaghu swaras in the pallavi.

The vidwan's style of music does not associate itself with the frivolous tinsel variety, it has depth and emotion. His alapana of Saranga avoiding prayogas in the higher octave was marked by dignity. The violinist's sober but sweet answering statement was appropriate. `Palaya Raghunayaka', a Swati Tirunal song, was reflective of the musician having internalised the devotional spirit of the kriti.

The Todi alapana anchored with many bhava-soaked prayaogas sung with composure, was an impressive conceptualisation of the raga's varied facets. Vittal Ramamurthi's playing of the raga with many phrases of skill and beauty was a tryst with melody. `Kotinadulu' of Tyagaraja in Adi Talam and the neraval of `Pongochu Sri Raghunathuni Prematho' created a mood of contemplation. The string of kalpanaswaras in the madhyama and dhurita kalapramanams and the kuraippu in the shadjam were methodical and systematic, while korvai reached shore safely without encountering stormy weather.

A Purandaradasa ragamalika most probably tuned by the vidwan himself with Khamas, Pantuvarali, Hindolam, Nagaswaravali and Patudeep did keep the rasika's chalice full.

An emotive version of Syama Sastri's `Trilokamatha nannu' in Paras and the swara sequences in the pallavi with gana naya rendering were proofs of a grand heritage.

Anandabhairavi was chosen for the Ragam Tanam Pallavi suite scripted with tender care in the different sthayis to leave the listener with a sense of fulfilment. The violinist's essay had a positive approach with all the relevant aspects of the raga well synchronised to make a healthy whole. The thanam not reduced to a routine exercise, had its moments in the Sun. The pallavi set to 4 kalai with the lyrics `Murugaiyan Panniru Kaiyane Vallideivanai Manalane' began with an atheetha eduppu. The neraval and the anuloma Pratiloma efforts were precise. The dhurita kala swara passages sung with fervour were robust to give a pep to the proceedings and ending with ragamalika in Behag and Revati.

The tani avartanam by the three percussionists executing exemplarily the divisions and sub divisions was a well co- ordinated display.

The padam `Upamu gana' and `Pahirama Chandra' both in Yadukulakamboji provided positive listening quality.

Hearty musical spread

N. Ravikaran, who created soaring waves as a boy genius some three deades ago, has established himself as a consummate chitra veena artiste. His morning concert on December 28 began its course with the Surutti varnam `Entho Prema' in Adi Talam.

Tyagaraja's `Marugelara' in Jayantasri was played melodically and with sensitivity to the raga lakshana. Syama Sastri's `Devi Brova' in Chintamani seems to have been chosen by quite a few artistes during the season, and the brief raga sketch and the kriti rendering by Ravikiran exuded an exclusive musical flavour. Not many try their hand at swaraprastharas for this kriti. The artiste's efforts especially in the madhyama kalam were in tune with the raga bhava.

The tani avartanam at this stage was perhaps to give more scope for the 8 kala pallavi later. Bangalore T.A.S. Mani on the mridangam and T.H. Subashchandran initially with oral rhythmic syllables (konnakol) and later on the ghatam provided a tani avartanam with a touch of class.

`Entha ninne' in Mukhari had melody and raga bhava firmly ensconsed in the driver's seat. A lively version of Tyagaraja's `Vara Naradha' in Vijayasri and livelier swara passages provided the plank for the Ragam Thanam Pallavi in Keeravani, set to Khanda Jathi Triputa Talam in 8 kalai. The extensive raga delineation initially adorned with slow prayogas and moving on to the madhyama kala and dhuritha kala phrases had the raga swaroopa emerging with spontaneous elegance.

Sriram Parasuram, a multifaceted artiste, played a raga alapana on the violin studded with a confetti of mature, musical prayogas that captured the listener's imagination. The tanam playing by the main artiste portrayed creditably the essential beauty of this singular musical form. The violinist's rendering, however, was more like swara playing than a tanam presentation. The lyrics for the pallavi `Bhavani Sukhapani Keeravani Veganannu Brovumu' had an arai eduppu from samam, that is 16 matras away from the commencement of the Talam. The neraval of the sahitya in 8 kalai had a few hiccups, but overall was a positive exercise. The tri kala attempt that was also orally articulated was meticulous. The pallavi then moved on to the 4 kalai with the expansion of the lyrics played in the different tempos, and then went on to the 2 kalai. The swara sequences in madhyamakala and dhuritakala and the kuraippu in the shadja by Ravikiran were correct and efficient. The ragamalika swara patterns in Saraswathi, Manohari, Anandabhairavi and Hamsanandi lifted many hearts in the audience. All said and done, the Ragam Thanam Pallavi in this recital was a hearty musical spread.

A Javali in Khamas by Dharmapuri Subbarayar and `Eppo Varuvaro' in Jhonpuri were the songs of the lighter genre at the end of the programme.

Classical depth

B. Rajam Iyer (see picture) , a senior torch-bearer of the Ariyakudi bani, was scheduled by The Music Academy in its morning slot on December 29. The recital got to an even rhythm with a Sanskrit sloka followed by the Hamsadhwani Adi Tala Varnam `Pagavari' by Patnam Subramania Iyer, suffixed with a steady stream of sarvalahu swaras.

The Gowlai song of Diskhitar `Sri Mahaganapati' with its chittaswaram was rendered with gusto and spread good cheer all round. The compact neraval for the lyrics `Prakasakaro' and the swaras in the madhyama and dhurita kala were proof that Rajam Iyer is a Vidwan of quality and substance.

The raga delineation of Jayamanohari with praiseworthy sruti unison and the kriti version of Tyagaraja's `Nee Bhakti' were spontaneous interpretations not merely meant for populist appeal, but to raise the standard of the environment to more elevating levels. The brisk swara prastharas in the pallavi were indicative that the advancement of years has not a whit blunted the enthusiasm of the vidwan.

Pantuvarali was explored in detail with many madhyama kala prayogas adorning the exercise, gratified the discerning ear. M. A. Krishnaswami, one of the scions of the Parur style, played a very pleasing essay. `Sri Sali Vateesa nayike', a beautiful composition by Dr. Srivatsa in Khanda Chapu had poise and stature, while the thematic elaboration of the line `Sri Chakravasini' and swara sequences in two speeds found the artiste keeping his concentration levels pegged high.

The Sriraga alapana had an uninhibited approach focussing on the rakti prayogas. The violinist with his clean bowing and pertinent phrases made an impression. `Karunajoodu', the melodious song of Syama Sastri, evoked an instant appeal while the solpha passages in the two tempos had pleasing sarva laghu expression.

The Sankarabharanam dissertation burnished with many time tested prayogas, amply proved that classicism in Carnatic music may at times get marginalised but can hardly ever be thrown out of the window.

`Ethutanilachide' of Tyagaraja with the kalpanaswaras both by the vocalist and violinist having a blithe spirit lent the spring board for the technically perfect tani avartanam by K. R. Ganesh on the mridangam and N. Somayajulu on the ghatam.

A brief sketch of Bilahari preceded the Tamil song `Ininamakkoru' with a short spell of kalpanaswaras in the pallavi.

Todi is a raga that has a unique incandescence of its own, and Rajam Iyer in his extended treatment made it clear that he was not on a chase of rainbows, but in a successful pursuit to highlight the classical depth of the raga. Krishnaswami won many hearts with his well conceived, cohesive alapana played with felicity in the various stages.

After the tanam rendering orally and on the violin, the sahitya of the pallavi set to Chatursra Triputa Tala Misra Nadai was expanded competently in three kala pramanams. The tri kalam of the pallavi and the swara strings reflected the artiste's intense commitment to traditional values. Swaras in Atana and Sama were also rendered.

`Matha Ramo', a Sanskrit sloka in Poorvikalyani, Dhanyasi, Kannada, Ahiri, and Behag squarely met the aesthetic demands of the rasika.

`Oruthi Maganai', the Tiruppavai in Behag and Patnam Subramania Iyer's Khamas tillana ensured listener participation.

When there are ever so many fly-by-night artistes invading the scene, Rajam Iyer stands firmly like a rock in the firmament of Carnatic music.

Commendable musicianship

Suguna Purushothaman, an artiste of long standing, is well known for her keen musical acumen. A musician belonging to the bani of Musiri Subramania Iyer, Suguna began her concert on December 31 morning with Tiruvotriyur Tyagaraja's Durbar varnam in Adi Tala.

Patnam Subramania Iyer's `Ninnujoochi' in Sowrashtram with its spiralling sangatis in the pallavi set the programme right on track.

``Sri Lakshmi Varaham'' in Abhogi by Dikshitar on the deity in the temple on the banks of the Tamrabhrani, the neraval for the line `Sankha Chakra' and the swara improvisations revealed that the singer is an effective performer in the traditional, classical idiom.

The Dhanyasi alapana with dignified, pertinent gamaka nuances, found the artiste, performing close to her metier. T. K. Padmanabhan followed with a sensitive essay. `Paruvam Parkha', the Tamil composition by the Anai Ayya brothers with clear lyrical and musical expression was a comely interpretation. The expansion of the sahitya and the kalpanaswaras had intuitive conception and quite a degree of sophistication.

`Adenamma', in Paraz, a lovely composition of Pallavi Duraiswami Iyer with a lilting gait, was sung in the appropriate kalapramanam.

The elaboration of Kedaragowla came alive with Suguna's pliant voice positively responding to all the prayogas in the various sthayis. The violinist's keen gnana was showcased in his alapana packed with many soothing prayogas. The composed, serene version of Tyagaraja's `Thulasi Bilava' did effect a melodic connection between the singer and the audience. The raga bhava was amply reflected in the neraval while the swara prastharas in two speeds were meticulous and strictly disciplined.

Thanjavur Kumar's mridangam tani avartanam was a pleasant rendezvous with impeccable rhythm.

Swati Tirunal's `Parama Purhsam' in Lalitha Panchamam and Subbaraya Sastri's Hamir Kalyani kriti `Venkatasaila Viharo' with impassioned articulation, were well received.

The spirited `Evarunnaru' in Balahamsa set the board for the Ragam Tanam Pallavi in Kharaharapriya.

The alapana with a smooth texture was well carved to stress the melodic nuances of the raga. The expansion of the raga on the violin gained instant audience approval. The tanam punctuated with zeal was a stimulating effort.

The rendering of the pallavi in Tisra Jathi Adi Tala in the Misra Nadai with the lyrics `Shankara Priya Jagadambike Sada Namosthe' bore testament that the Vidhushi is extremely comfortable and competent in the territory of rhythm. The neraval, the precise tri kala exercise and swara sequences had the essence of commendable musicianship.

A Tamil Viruttam in Anandabhairavi, Bilahari, Shanmukhapriya and Mohanam was an enjoyable flow of melody.

The artiste's own composition in Mohanam `Lakshmi Sametha' set to the Sans Lakshmeesam Talam of 25 Aksharas was proof of Suguna's creative instincts. Syama Sastri's `Kanakasaila' in Punnagavarali was scripted with tuneful melody.

BY A CORRESPONDENT

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