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Vibrant and adventurous
THE PERFORMANCE of Mandolin Srinivas for the Krishna Gana Sabha was a testament to his energetic musical ability. Vibrancy of embellishment formed the core of his performing technique and the interpretation of songs was intensely precise. Fingering virtuosity gained his attention more than importance to the quality of composure.
The rasikas were therefore attracted by his communicative skills. The main raga alapana of Kalyani was studded with adventurous sancharas along the octaves with exaggerated swiftness. In whatever manner rendered, Tyagaraja's kirtanas spell an intrinsic charm that makes a recital dignified. Mandolin Srinivas in quick succession played ``Chinnanaatenaa'' (Kalanidhi) ``Pariyaachakamaa'' (Vanaspati) ``Marugelara'' (Jayantisri) and ``Etaavunara'' (Kalyani). Perhaps in justification of being the recipient of the award, for innovation within the bounds of tradition in Carnatic music, he played ragamalika swaras for the Kalyani kirtana, which would have gladdened the hearts welcoming innovations. Earlier the programme included ``Gajavadana'' (Sriranjani) and ``Brochevaarevarura'' (Kamas). Violinist S.D. Sridhar kept as close as possible to Srinivas. Palghat Raghu (mridangam) and H. Sivaramakrishnan (ghatam) provided punching support.
Before the award presentation function Seshampatti Sivalingam provided soothing nadaswaram strains as mangala isai. He was accompanied on the tavil by M. Subramaniam, Gajendran and Subramaniam.
Brisk delineation
Even though mechanical rendering has become the order of the day, the interplay of karvais in sancharas of ragas and interpretative scholarship make music somewhat enjoyable. That was the feeling that the recital of Sangeetha Sivakumar for Krishna Gana Sabha created. It started on a dull note and in this the first kala varnam and the Narayanagowla kriti ``Sri-Raamam Raghukulaabdi Somam'' had much to say. Sangeetha Sivakumar got out of this lethargy with a brisk delineation of Begada and later Kalyani. The raga pictures were well laced with bigu and sugu, though expressionally strained. Of the two, her vision of Kalyani was beautiful and was well reflected in the formulation of phrasings.
The songs ``Sankari-Neeve'' (Begada) and ``Pankaja Lochana'' (Kalyani) stood out crisply. So did the Mukhari piece ``Entaninne Varnintu Sabari'' with a prelude of raga alapana not quite exciting. R. Hemalatha, the violinist was precise in her accompanying technique. The mridangam support from Hanumantapuram Bhuvarahan was far from adequate. — SVK
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