Sweet exposition of Poorvikalyani

UNDER THE auspices of Carnatica Archival Centre, a panel consisting of musicians and musicologists discussed the various facets of Poorvikalyani. The panel consisted of Vijaya Siva, Rama Ravi, S. R. Janakiranan, T. P. Vaidhyanathan and Prameela Gurumoorthy. Charumathi Ramachandran followed up with a song `Satileni' and a well-rehearsed Pallavi. She handled the raga with felicity. The sketch of Poorvikalyani drawn by Charumathi was by and large tasteful. Her voice is flexible and sweet in all the octaves. But she has to avoid crooning in the top octave to touch the tara sthayi panchama and daiwatha and nishada. The vocalist's delivery of the raga was replete with enjoyable ingredients. The pallavi was in Tisra Triputa (misra nadai). The words were `Varam Arulvai Saravanane, Vannamanji Vahanane, Mana Mohanane. The starting was after three Akshara. The improvisation in the neraval was absorbing. There were many calculated swaras even though they did not adhere to manodharma, the swara exercises were tidy. Varadarajan on the violin played a fine Poorvikalyani and Tanam, with swaras matching the vocalist's imagination. Kallidaikurichi Sivakumar's mridangam play was supportive to the vocalist.

T. M. Krishna gave a superb vocal performance under the auspices of Triplicane Rasika Samaj at Bharathi Ninaivu Illam (T.P. Koil Street, Triplicane). His opening Varnam `Janaki Ramana' (Sahana) was brisk with good tonal effect `Sudha Seemantheri' of Tyagaraja was an enjoyable rendition with shiny swaras. A well-studied `Poorvikalyani' was elaborately rendered with rich imaginative sancharas.

`Gnana mosaga Radha' with neraval at `Paramathmudu Jeevathmudu' and skilful swaras were appreciable - `Sevikha Vendum Aiya' in `Andolika' was briskly rendered with an eye on the raga's swaroopa Sankarabharanam, the main raga was dealt with in a slow tempo and elaborated in a traditional pattern. The vinyasam had enjoyable sancharas well-appreciated by the rasikas. The well- knit neraval and swaras marked his proficiency. Varadarajan (violin) played a skilful Poorvikalyani and Sankarabharanam was replete with fine sancharas. Aruna Prakash (mridangam) supported the vocalist well through out the concert and played an enjoyable tani.

Rajasri Ramakrishna sang for Balaganamrutham on June 16. Eranapai, Todi varnam, was tidy. `Lambodara' of Vasudevachariar in Kambodi with neraval and swarams at `suraboosina' was adequate. Her agenda included `Rama nama'' (Huseini), Kamakshi (Varali) Kamalaambika (Sahana) Karnathandri (Tyagaraja). Her exposition of Varali and Sahana were passable. The Sankarabharanam alapana was average. The neraval and swaras at `parama' was appreciable. The vocalist must concentrate on sruthi alignment to add sheen to her performance. Hemamalini compensated the recital with her fine elaboration of Varali and Sankarabharanam Raguprasad apart for supporting the vocalist played a tidy Tani.

B. Balasubramaniam regaled the audience with his vocal recital for Sarvani Sangita Sabha. He made full use of his robust bold voice. His rendition of the concert revealed a disciplined effort. The singing style and patantharam were impressive.

Balasubramaniam opened the recital with the Sri Raga Varnam in two speeds followed by `Swaminathe' in Nattai with an array of swaras. His rendition of Mayamalavagowla was replete with enjoyable phrases. The song `Tulasi dala mulache'' had sufficient classical weight in the neraval ``Sarasiruha' followed by crisp swaras. `Ananda Amritha Varshini' was tidy. His delineations of Sahana and Poorvikalyani had elaborate catchy sancharas with long karvais in full sruthi unison. Sincerity was evident in the rendition of Rama Ikanannu (Sahana Tyagaraja) and Parama Pavana Rama' (Poorvikalyani - Ramnathapuram Srinivasa Iyengar) The neraval at `Kanakambharadhara' (in the song `Paramapavana' had a devotional, soul-stirring appeal. The manodharma swaras revealed an imaginative approach which was appealing. U. Sanjeev played Sahana and Poorvikalyani with elaborate sancharas in a beautiful style. Thanjavur Kumar played a good tani with calculative laya patterns.

- R.S.

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