Wholesome veena recital
TRADITIONAL PHRASINGS, idioms, emphasis on mandra stayi and detailed alapanas earned wholesome praise for S. Srinivasan's veena recital at Sri Tyagaraja Sangita Vidwat Samajam. Dikshitar's classic, "Balagopala" (Bhairavi - a homage to Mannargudi Rajagopalaswami), after an expansive alapana, neraval and swaras at the anupallavi, was played satisfyingly. The concluding piece, Swati Tirunal's padam, "Tarunijhan" in Dwijavanti gave the concert a high stature. Srinivasan began his cutcheri with Dikshitar's "Siddivinayaga" (Shanmugapriya) followed by the not-frequently-heard Tyagaraja's Asaveri kriti, "Mapalavelasi" preceded a moving Sahana alapana for Tyagaraja's "Dehi Thava Padabakthu." Syama Sastry's "Ninnu Vina Mari" (Purvikalyani) impressed. Trichur C. Narendran (mridangm) and T. V. Vasan (ghatam) gave subtle percussive support.
Good in parts
In a concert that was good in parts at the Music Academy mini hall under the auspices of Lalita Kala Vedika, Shuba Ganesan's Saraswati raga alapana for Muthiah Bhagavatar's "Vaageeswarivani Saraswati" was noteworthy for its clear contours and the artiste's perception. The swaras at the pallavi were chic and precise. The Bhairavi alapana was a detailed effort on tested lines. Tyagaraja's "Upacharamulanu" was a wise choice with neraval and swaras at the first charanam, "Kapatanataka Sutradhari... " revealing the singer's hard and sincere practice gained through an ideal patanthara. "Endaneramum" (Sama - Ambujam Krishna), "Yemako" (Tilang - Annamacharya) and
Dikshitar's "Paradevathe" (Dhanyasi) deserve special mention. M. A. Krishnaswamy's violin support was most telling and helpful to the vocalist in adding colour and glamour to the renderings. The percussionists were V. M. Ganesan (mridangam) and Pudukottai N. Ramachandran (ghatam).
Those who look for a fast-paced music with glamour, frills and dazzling gamakas may not find any trace of these in S. P. Ramh's renderings. But to those looking for serenity and tranquillity, his music is a bonanza as evidenced at his concert sponsored by Shriram Group. Old time rasikas quite enjoyed the fare served, especially the Anandabhairavi raga alapana and Syama Sastry's "O Jagadamba Nannu," portraying the poet's anguish for Divine Mother's grace. Lalgudi Vijayalakshmi's violin display gave added dimension. The swara duel was not combative but brought out the erudition of the pair clearly and convincingly. The exercise continued in Todi for Tyagaraja's "Dasarathi, Nirunamu Teerpana." The neraval and swara at the anupallavi did full justice to this song of compassion. Patnam Subramania Iyer's Kadanakuthuhala kriti, "Raghuvamsa Sudha" was not hurried through. Vyasarayar's "Krishnanee Begane" (Yamuna Kalyani) and Lalgudi's tillana (Brindavana Saranga) were quite evocative. R. Ramesh's melodious beats and skilled teermanams as well as a scholarly tani impressed tala buffs.
Free rein to shaariram
One commendable point about Bombay-based Priya Subramaniam's music is that she doesn't muffle her voice even while operating in the higher octave, and gives a free rein to the shaariram. This was in evidence when she rendered a comprehensive Todi alapana for Dikshitar's "Sri Krishnam Bhajamanasa" with neraval and swaras at the charanam. The expansive Mohanam alapana was followed by the not-frequently-heard Swati Tirunal kriti, "Paripahi Mam" (misra chapu) with well-fashioned swaras. A samashti charanam Dikshitar song, "Parandhamavati," after a striking alapana in Dharmavati, was rendered with correct diction. Starting with N. S. Ramachandran's Sunadavinodini varnam, the artiste concluded with Palghat Anantarama Bhagavatar's Valachi kriti, "Yenindaparamugam." Kalyani Shanker's violin play exuded rare confidence and erudition while P. K. Babu (mridangam) rendered a good tani avarthanam. KSR
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