Each Kutcheri is a work of art. And so it appeared as one listened to A.K.C. Natarajan (octogenarian now and pioneer of Carnatic Music on the Clarionet then) at the Tamil Isai Sangam. It reflected his stature as a musician to the maximum extent. His playing methods were as steady as ever, with a deep sustained intensity and had an authority about it that never reflected his age (Uzhaippin Uram). Its aesthetic impact was there for one to see, hear and experience.
Natarajan made an informed choice by beginning with the never-failing Hamsadhwani (‘Varanamukhava,’ Kotteeswara Iyer). ‘Aanandha Nadamidum’ by Sivan with foot-tapping lyrics towards the end that follow the jati pattern (Kedaragowla) was played with all its vigour. The thavil vidwans (Yazhpanam Srikanth and Puducherry Balamuralikrishna) played their part here adequately and efficiently. There was fervour in their rendering. Natarajan then rendered a number in Atana (‘Kanaka Sabapadikku,’ Gopalakrishna Bharati) with the style and bhavam on the instrument that matched that of Sirkazhi’s rendering. The Khamas number (‘Idathu Padham,’ Sivan) had a sweet cameo of an alapana with suitable modulations instilled. It lent a lovely dimension to blowing which is the hallmark of consummate craftsmanship. Another interesting song that came next was in Jayanthasena (‘Vennilavum,’ Bharati Dasan - set to tune by M. Dandapani Desigar - MMD).
The forte of nagaswara vidwans is Thodi and this has become more pronounced after the advent of T.N. Rajarathinam Pillai into the performing arena. AKC Natarajan gave insights into this raga, which had a beauteous importation of thoughts, feelings and experiences and presented all combinations that were formed in his mind. The song was again a one-tuned one, sung and popularised by MMD – ‘Thirumagale’ by Mu Arunachalam. Closing pieces followed the usual concert paddhathi – ‘Kuraiondrumillai’ and ‘Kaatrinile Varum Geetham.’
It was heartening to see the kind of encouragement Natarajan offered to Srikalahasthi Munikumar who provided him support on the nagaswaram. He was allowed to air his musical expressions during the Thodi alapana which he did with skill, tact and self-defined limits.
The thavil vidwans who hold certain core values dear to their hearts involved themselves in various rounds of playing, though their thani was of a short duration. Their “Thani-Show” contained expressions of the immeasurable experience and one thavil vidwan equalled the other in the variety and range of strokes and the way in which they handled one side playing (oru pakka vaasippu) - alternating between the valandhalai (played with koodus on all fingers) and the idathu (left -stick side).
It came as a bit of surprise that the concert ended well-ahead of its time. Any plausible reason(s)?
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