Vellinezhy Subramanyam's erudite recital could have done with some attention to aesthetics as well.
Vellinezhy Subramanyam, a disciple of Carnatic vocalist Trichy Ganesan, displayed his deep erudition and classical paatanthara, in his vocal recital at The Palghat Fine Arts Society, Tharekkad.
Aided by his full throated voice, he infused vigour into his renditions.
The Saveri raga varnam ‘Sarasuda,' followed by ‘Siddhi Vinayakam Seveham,' a composition of Muthiah Bhagavathar in Mohanakalyani, gave a flying start to the recital. The famous Tyagaraja kriti ‘Mokshamu galadha,' preceded by a graceful sketch of Saramathi, was well rendered. Subramanyam's interpretation of ‘Paadame thunai' in Valaji, a beautiful creation of Paapanaasam Sivan, suffixed with crisp kalpana swaras, was inspiring.
His delineation of Lathangi was steeped in classicism. The raga bhava was further projected in the portrayal of the less heard Dikshitar kriti ‘Saadhujana vinutham' and in the succeeding neraval and swaraprastharas. Muthiah Bhagavathar's moving song ‘Vaanchadhonuna' in the rare raga Karnaranjani (derived from the 22nd mela) was a welcome choice. A brief contour of the raga prior to the kriti rendition would have enhanced its appeal.
Sankarabharanam is a major raga, affording immense scope for in-depth elaboration. Subramanyam's alapana was no doubt good. However, being the main raga of the evening, he could have explored it to its full potential. None the less, he made amends in the comprehensive neraval and swara patterns at the charanam ‘Mooladha rajanaadha' in the Tyagaraja kriti ‘Swara raaga sudha.' The ‘ga ma ga' prayoga in the swaras deserves special mention.
The Tyagaraja composition ‘Entamuddho Entasogaso' in Bindumalini, in the post-tani avarthanam session was appealing.
After the Narayana Teertha tharangam ‘Govindamiha' in Abheri, the vocalist rendered the sloka ‘Vande maataram Ambikam' in the raga maalika format. The brief sketches of Surutti, Kalyani, Ranjani, Sri and Madhyamaavathi made an impact.
The concluding items were: ‘Karpagame' (Madhyamavathi-Sivan), ‘Karunai Deivame' (Sindhu bhairavi-
Madurai Srinivasan), ‘Kumaran thaal' – (Yadhukulakambodhi-Sivan) and ‘Kurai Onrum Illai' (Ragamaika –Rajaji). The thillana was conspicuous by its absence.
The talented musician that he is, Subramanyam should lay more accent on “aesthetics,” which was rather scarce in his otherwise pleasing concert.
Violinist Trivandrum N. Sampath earned the appreciation of the listeners, with his splendid display. His versions of Lathangi and Sankarabharanam were magnificent. Palakkad K.S. Maheshkumar provided ideal mridangam accompaniment, with his subtle touches. T.R. Parameswaran gave adequate support on the ghatam. Their tani was a laudable creation.
Keywords: Vellinezhy Subramanyam