OST belongs to the Semmangudi school, the hallmark of which is unrelenting fidelity to tradition, which sometimes can be branded ‘stereotyped.' The flipside is that these 'stereotyped' concerts are a veritable insurance against failure. And they are always satisfying.
Never in the name of innovation, does OST fly into the unknown (though such flights have their own charm, like some rare cuisine). OST's delectable Bilahari stood as evidence to the merits of tradition-bound singing.
The disciplined and orderly alapana set the tone for the song to follow, ‘Smarasada Maanasa Balagopalam' of Swati Tirunal. Niraval was at the traditional point, ‘Garuda Thurangam.'
A dying trait in modern Carnatic music is the singing of ‘eka avarthana' swaras. Stopping the ebb is the Semmangudi school. OST does it, T.M. Krishna does it, and one sees this in Malladi Brothers' concerts. But otherwise, it is a disappearing feature.
The Bilahari piece was tailed by several rounds of single-cycle swaras, in both slow and fast gaits.
This style also figured in the other main element of the concert - an Abhogi (‘Manasu Nilpa' of Tyagaraja). The grand alapana of Abhogi was another notable feature of the concert.
Mullaivasal Chandramouli provided laudable support on the violin. But it was the other accompanist, Chidambaram Bala Sankar, who stole the show.
This disciple of Kumbakonam Rajappa Iyer is among the top seeded mridangam vidwans. He played brilliantly, with the meetus and chapus ringing distinctly and clearly. A very promising artist!
In a good measure, all this is true also of the ganjira accompanist, Madipakkam Murali. As all the four on the stage did their act well, it turned out to be a fulfilling concert.
