Veteran Carnatic vocalist Trichur V. Ramachandran (VR), a senior disciple of maestros G.N. Balasubramanyam (GNB) and M.L. Vasanthakumari, is a stickler to their unique style of rendition.
Although VR is known for the timbre and resonance of his voice, these major assets have however, decreased over the years. This was evident in his concert at Palghat Fine Arts Society, Tharekkad. His low sruthi was another disadvantage. Despite all these limitations, the concert did have many bright spots, especially when he exhibited flashes of GNB’s bani.
The initial phase comprising Veena Kuppayyar’s Begada raga varnam Inta Chalamu, GNB’s Varavallabha ramana in Hamsadhwani, and Tyagaraja’s Dinamani Vamsa in Harikambodhi set the concert in motion. A Hamsanandhi alapana, steeped in classicism, projected the raga swaroopa in full.
Soothing melody
Swathi Thirunal’s Pahijegajanant was well presented, with a breezy niraval and speedy kalpana swaras. Melody flowed in a sketch of Reethigowla. However, instead of the less familiar Badalikadeera of Tyagaraja, he could have chosen one of the more appealing kritis, which are in plenty. Though the brief contours of Arabhi were captivating, the kriti Sri Ramana vibho lacked impact.
In contrast, GNB’s Unnadiye gathiyenru in Bahudari was a welcome choice; the swift swaras enhanced its appeal.
Kalyani, the main raga, was analysed in detail in the traditional manner, in the typical GNB style. Beautified with vibrant brigas and bright gamakas, the exposition attracted the attention of the audience.
VR sustained a zestful tempo while rendering the famous Tyagaraja kriti Aetavunara ; niraval was conspicuous by its absence but it was compensated by dynamic swara permutations that exhibited his acute sense of ‘Kaalapramaanam’.
At this stage, one expected an RTP from the great musician, but it was not to be. Muralidhara Gopala in Maand, GNB specials Dhikku theriyatha kattil, a ragamalika piece, and Himagirithanaye in Sudha Dhanyasi won appreciation. The soulful Narayaneeyam verse Agre Pasyami in Shanmugapriya, Mohanam, Miyanki Malhar and Madhyamavathi was heart-warming.
M.A. Sundareswaran demonstrated the Parur style through his immaculate fingering and bowing techniques on the violin. Palakkad A.M. Harinarayanan’s tani in Adi tala, adorned with tisram sollus, was spectacular on the mridangam.
Alathur T. Rajaganesh played a supportive role, with dexterous beats, during the concert and the tani on his ganjira.
