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GLOWING Shrinath executed imaginative and intricate movements with remarkable ease

In his performance, one could sense a remarkable balance struck between all the essential ingredients of music in general and of a concert in particular. Stable chords readily modulated for expressive resonance - the sthayis posing least hindrance for the extempore. It was not just the timbre, but also an appealing gentleness and alluring sweetness, which drew one’s attention unawares.

Interestingly, Shrinath commenced with “Jagadanandakaraka” (Pancharatna Krithi – Naata - Thyagaraja), instantly elevating the audience to serene heights - the diction conveying the meaning, the gamakas creating the mood and the expertise fortifying the progressions. The swaras shone both collectively and individually.

“Rama Nee Samaanamevaru” (Kharaharapriya - Thyagaraja) went on in the same pattern as above. He methodically explored the raga raising it to pleasant and sustained climax, executing imaginative and intricate movements with remarkable ease, perfectly synchronising with shruthi.

Lyrics in slow cadence, absorbing neraval at “Paluku Paluku” combined with fluent kalpanaswaras realised what the composer intended, materialised what the singer had visualised and delivered what the listeners sought after.

He sumptuously enriched “Marivere” (Shanmukhapriya - Patnam Subrahmanya Iyer) with jaaru gamakas (appealingly elaborating the raga), vali gamakas (emotively influencing the lyrics) and kampitha gamakas (judiciously framing the kalpanaswaras). This presentation culminated in soothing thaniyavarthana.

The concert included Thyagaraja’s “Merusamaana” (Mayamalavagowla), “Shri Raghukula” (Hamsadhwani) and “Paramathmudu” (Vaagadhishwari).

M.S. Vidya, accompanied by H.K. Narasimha Murthy (violin), P.S. Shridhar (mridanga) and S. Manjunatha (ghata), sang under the auspices of Sri Krishna Gaana Sabha. Her voice immediately catches the attention of the listeners by virtue of its silvery melodic qualities. She sings with ease in the lower octaves, but not very comfortable in the higher notes. Her gamakas are sharp sprouting with delicate swiftness. The present concert was pleasing, yet could have been inspiring. Except in a few presentations, she could not infuse the expected animating expressions.

“Gajaambanayako” in Junjhuti (Muthuswamy Dikshitar) sent signals of high expectations. She vivified the composition rendering it in an appropriate moderate tempo facilitating a clear understanding of the composition. Few passages of kalpanaswaras enhanced the overall acceptability.

As the next three or four compositions did not carry any significant features (though they were scholarly in their individual capacities), an element of slackness started getting into the picture. A timely action, by elaborating Shanmukhapriya (“Marivere” - Patnam Subrahmanya Iyer) would have given a lively lift.

Annamacharya’s “Gathulani” (Mohana) could have been meaningful had it emerged straight from her memory instead of from the reference text.

Narrative pattern remained plain in Kalyani though packed with suitable gamakas. Lyrics “Kallusakkare Kolliro” (Purandaradasa) carried kalpanaswaras. “Ganamurthe” (Gaanamurthi-Thyagaraja), “Varashringagiri” (Narayani - Bellary Sheshagiri Achar), “Sarvam Brahmamayam” (Madhuvanti -Sadashiva Brahmendra), “Brahmakadina” (Mukhari - Annamacharya) and a tillana were other inclusions.

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