One understands the importance of silence only when one sits through a concert these days. At a programme organised by Tapas Academy , held at Tattvaloka, one could hear the music beyond the closed doors on the busy Eldam's Road!
The Thirumalai Brothers have a strong, ringing voice. So, why such loud amplification?
After a sloka in Kalyani, P.B. Srirangachari and Embar Kasturi embarked on a leisurely rendering of the Kalyani Ata Tala varnam. It was followed by ‘Sri Varalakshmi’ in Sri Raga and ‘O Rajeevaksha’ in Arabhi.
Kasturi’s essay of Pantuvarali had some new ideas; Rahul’s version on the violin was short and sweet.
The niraval and swaras at ‘Tripatalanu…’ could have been toned down a bit. ‘Paramiyavaiya’ in Suddha Dhanyasi was followed by alapana of Surutti by Srirangachari. Rahul’s attempt was better in this raga; in fact, he was impressive with azhuttham in his bowing and the musical quality throughout. The rare kriti taken up that day was Tyagaraja’s ‘Ramadeivama’, followed by another rare one of the same composer, ‘Kaluguna,’ in Poornalalitha.
The main raga was Sankarabharanam. Kasturi’s interpretation of the raga again had some innovative touches, while Srirangachari’s was standard fare.
The kriti ‘Swararagasudharasa’ had swaras at the pallavi. How well mridangam vidwan T.K. Murthy played even at such an advanced age! The much younger Palakkad Parameswaran, also on the mridangam, was equally skilled in the thani.
However, the overpowering volume at which ‘Pahiramadhoota’ (Vasanthavarali) was presented did not go down well with the rasikas.
Click on the respective venues to read about concerts performed there.
>
 | >
|
| >
| >
|
| >
| >
|
