|
Entertainment
Racy rendition on veena
VISWESWARAN, PERFORMER musicologist and guru, is a Karnataka-based senior veena vidwan. His kalpana swaras in the dhurita kalam for Dikshitar's ``Sri Saraswati" in Arabhi set to 2 kalai adi talam were gripping racy rendition. A melodic sketch of Pantuvarali and a Purandaradasa song were wellscripted.
The Kanada elaboration had praiseworthy instrumental felicity with the raga bhava emerging soft and smooth. However, a shorter duration of the alapana free of repetitive phrases would have served the purpose just as well. ``Sri Narada" of Tyagaraja, with the fine percussion support of Madhirimangalam Swaminathan on the mridangam, both oral singing and playing of the words `Sri Narada' in the form of niraval and the sarva laghu swara expressions, were all piloted safely and gracefully to the take-off point without the disturbance of any air pockets. ``Jagadeeswari" in raga Bindumalini, the artiste's own composition in Sanskrit had musical and lyrical refinement.
The vinyasa preceding the kriti with sweet prayogas was rendered with only the left hand on the frets, without the right hand's contribution of meetus coming into play at all. Kambhoji, the pallavi ragam was given wholesome treatment with the artiste delving deep into the raga's classical beauty.
The tanam in the chowka madhyama and dhurita kala pramanam in Yadhukula khamboji (why immediately after khamboji, one wondered), Ahiri, Useni, Lalith, Kuntala varali and Suratti held attention. The imaginative pallavi in tisra triputa misra nadai talam with an adheetha eduppu, the niraval, the trikalam of the sequence and the kalpana swaras were efficient interpretations.
Nookala Sathyanarayana, a distinguished vocalist of Andhra and a senior sishya of violin maestro Dhwaram Venkataswamy Naidu and Dr. S. Pinakapani, sang for the Music Academy on December 31. ``Swetha Ganapathim" a Samashti charana kriti by Dikshitar in the melody Ragachudamani and the swaras added in the pallavi served as appetisers for the morning's programme. The Kannadagowla sketch with pleasant phrasings had quality to relate to the audience. Tyagaraja's "Sogasu Juda tharama" with caring diction and swaras rendered with elan merited positive assessment. The Nalinakanti expansion by the vocalist and the young violinist H.K.Venkataram evoked a warm response.
Praiseworthy sruti adherence, clarity of the lyrics and fluent articulation were the bottom lines in the versions of Tyagraja's ``Manavyala." The impromptu swaras strictly within the parameters of raga lakshana were imaginative forays. Nasikabhooshani, the second vivadhi raga in the concert had in its expansion many moments in the Sun. The violinist displayed a rare sensitivity in handling delicate vivadhi ragas with consummate skill.
``Maravairi Ramani" of Tyagaraja on Devi Dharmasamvardhini and the flowing swaras in the pallavi with many panchama varja passages were in keeping with the vidwan's long performing experience. Bilahari aptly chosen for a morning concert was delineated with aesthetic contours expressing the raga swaroopa in convincing fashion. Firm melodic statements on the violin were indicative of the artiste's prowess as a gifted performer. The Tyagaraja kriti ``Doraku naa ituvanti seva" has a singular stature. Sathyanarayana's song interpretation with the melodious support of the female voice did justice to the classical weight of the composition. The niraval for the line `kamitha pala dhayaki' and the solfa matrices emphasised the musician's vidwath. The tani avartanam by Ramesh on the mridangam and Karthik on other ghatam was interesting in terms of the dynamics of their enthusiastic, innovative, rhythmic patterns.
Dipped in honey
Ganesh and Kumaresh, violinists of sound calibre who concentrate more on solo concerts were featured in the morning session on Christmas Day. An appreciative crowd enjoyed the raga development of Bhairavi woven with time-honoured honeyed statements. Tyagaraja's ``Raksha Pettare" was embellished with flawless swara passages in two speeds. The finishing sequence for the madhyama kala swaras was imaginative and interesting. The facile playing of the dhurita kala patterns and the divisions and sub-divisions in the panchamam and the stimulating korvai at the end were well worth the hearty applause given.
Musiri tradition
The vocal concert of Suguna Varadhachari, an experienced musician belonging to the vintage tradition of Musiri Subramania Iyer, gave a creditable performance on the morning of the 26th December at the Music Academy. The rendering of ``Karuna judavamma" in Varali, a gem of a composition by Shyama Sastri on Devi Dharmasamvardhani at Tiruvayyaru, was underlined with considerable emotive substance. Arunachala Kavirayar's ``Kanden Kanden" in Vasantha was sung at a brisk phrase reflecting the mood of the lyrics in which Hanuman expresses his joy to Rama on seeing Sita at Lankapuri. Kamboji with all the `prachina pidigal' registered well. The response on the violin by Bharati had merit. Veena Kuppiar's ``Koniyadi' with its plethora of Sangatis in the Pallavi and lilting Chittaswaram not often heard on the concert platform was a melodic interpretation. The niraval for ``Ninnu minchina deivamu" struck a chord while the swara improvisation, the daivatha kuraippu and the korvai safely landing on the eduppu were professional efforts. The violinist's jawab to the swaras was an enthusiastic display followed by a competent percussion interlude on the mridangam by Mannargudi Srinivasan and on the Kanjira by Rangachari.
Kalpakam Swaminathan, veena artiste of long standing and one of the recipients of the Sangita Kala Acharya award to be conferred by the Music Academy on New Year's Day, presented a wholesome concert. She was supported on the veena by C. Manjari, on the violin by Usha Rajagopalan, on the mridangam by A. S. Ranganathan and on the ghatam by Coimbatore Viswanathan. Swathi Tirunal's Ata tala varnam in Nattai that raised the curtain was a disciplined rendering. A soothing version of Dikshitar's ``Panchamathanga mukha" in Malahari invoking the blessings of Lord Ganesha and the swara passages were appropriately free of unwanted gamakas. Tyagaraja's ``Vinanashakoni" in Pratapa varali, a derivative of the 28th mela Harikhamboji reflecting the raga lakshana effectively had a positive aural impact. Anaiya's ``Paruvam parka" in Dhanyasi with the niraval and swaras was an assertive version. The rakthi of Sahana was well showcased in the lucid flow of the alapana and the weighty composition ``Inkevarunnaru" by Annaswami Sastri had a strictly classical bearing. Usha, giving free rein to her imagination came up trumps in her sparkling raga exposition. Though the niraval was pedestrian, the swara improvisation and the final korvai had order and method with laya kept on a tight leash. The elaboration of Kalyani and the Tanam suffused with traditional phrasing was indicative of the artiste's uncompromising classical leanings. The Pallavi set to Adi talam with a simple rhythmic structure with all the vital ingredient such as the niraval, swaras and the tri-kalam played to perfection posed no problem for the accompanists. The korvai however had a few minor thuds, well cushioned by the supporting veena player. The tani avartanam was punctuated with enthusiasm and laya accuracy. It was heartening that the artiste's advancing years have not curbed her subtle touch and firm, facile playing technique.
BY A CORRESPONDENT
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
|
