Scholarly depiction of rare raga

DISCERNING rasikas, who were longing for a detailed delineation of rare ragas, were delighted when Lalgudi G. J. R. Krishnan rendered a scholastic alapana of the less- frequently heard Kosalam (71st melakarta) for Koteeswara Aiyar's ``Ka Guha'' for Hamsadhwani. Fully aware of the pitfalls and the intricacy of this raga, Krishnan took all care to play the raga in its pristine purity. The way he deliberated and paused showed the violinist's concern for retaining the swarupa of this raga in its correct parameters. No wonder at the end of the alapana he got a big hand.

Krishnan and his sister Lalgudi Vijayalakshmi had included an RTP in Shanmugapriya (Khanda Jhampa in Khandanadai) with the pallavi line, ``Guruparane Kumarane Guhane Ninaimaname...'' There was a sparkling swara ragamalika in Surati, Saveri and Behag (Krishnan) Janasamodini and Arabhi (Vijayalakshmi). Krishnan played all these ragas in the reverse order, a popular exercise.

Vijayalakshmi's Kanada alapana was noteworthy for several caressing phrases and moving idioms. The pair played Tyagaraja's Sukhi Evvaro exquisitely. Ennatavam (Kapi) Madavamava (Neelambari - Narayanathirtha) Swati Tirunal's Ramachandraprabhu (Sindhubhairavi) and Lalgudi's Misramaand tillana gave the last phase of the concert extra sensitivity.

There was variety in the programme with the inclusion of kritis from old and modern composers. Veteran Kamalakar Rao (mridangam) and S. Karthik (ghatam) showed their extraordinary laya prowess in a long and skilled tani avarthanam.

Moving recital

Memories of M. D. Ramanathan (could be called a Nada Yogi) were brought back when Prince Rama Varma presented a moving recital. When he began with Gajavadanamampahi (Hamsadhwani) not many rasikas could guess its author. In structure it appeared to be different from several Hamsadhwani kritis heard frequently. At the end of the kriti the Prince said that M. D. Ramanathan was his ideal and he was dedicating his concert to him, April 27 being the death anniversary of the veteran.

Throughout the concert Prince Rama Varma created an atmosphere of serenity, hallmark of MDR music. Tyagaraja's ``Entaro Mahanubhavulu'' (Sri) was bereft of the needless crescendo that is artificially worked up by the vidwans in the group singing at the Tiruvayaru aradhana. Both when singing the sahityam and the chittai swarams there was no trace of unnecessary vigour.

The icing on the cake was MDR's most popular song, ``Sagarasayana'', a homage to his guru Tiger Varadachariar, in Bageswari (after an alap). Bujaga Sayina in Yadukula Khamboji (Swati Tirunal) was an appropriate mangalam to a concert which was unique in more than one sense.

Violinist R. Hemalatha was often found just repeating the lines as the vocalist delivered them. Only occasionally did she show her individuality. Shertalai R. Anantakrishnan (mridangist) gave good support.

There was a strong flavour of Hindustani style in the first phase of Visalakshi Nityanand's concert. Her rendering of Raghunayaka in Hamsadhwani (preceded by an alapana) would have found acceptance even among eminent Gawais. Hindolam was exploited fully in the Hindustani style and Dikshitar's Neerajakshi was handled superbly. The neraval and swaras at anupallavi were appreciated. The strong point in her singing is her total concern for unwavering sruti and the efforts she takes to achieve it.

Bhairavi was taken up for an RTP exercise, with the pallavi line, ``Srirama Ravikulapdi Soma Sri Janakasutaramana (Adi talam - four kalais). And as has become common nowadays, the ragamalika consisted of ragas of like names and in this case the ragas were anandabhairavi, Natabhairavi, Salakabhairavi and Sindubhairavi. Violinist Nagai Sriram came off brilliantly in this exercise.

In another ragamalika, Visalakshi sang Ranjani, Brindavana Saranga and Nalinakanti and with a Tiruppugazh in the last-named raga the concert ended. Koviladi Madhavaprasad (mridangam) gave good support.

K.S.

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