Worthy selection of songs
G. SWAMINATHAN
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With rigorous training, Sankaranarayanan’s potential and impetus are sure to take him places.
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Photo: B. Velankanni Raj
Promising talent: T. Sankaranarayanan.
There is no second opinion on the fact that veena is a divine instrument but at the same time it’s difficult to play or master unless the artist is a prodigy. Probably, that is one of the reasons for finding less number of aspirants to learn and perform veena.
Under these circumstances when a youngster like T. Sankaranarayanan, who ventured to give a recital under the Talent Promotion programme of Karthik Fine Arts with the support of Tamil Nadu Iyal Isai Nataka Mandram needs appreciation.
Sankaranarayanan was accompanied by Abhilash on the mridangam. The programme cannot exactly be termed as a kutcheri per se, it was more of a platform for Sankaranarayanan for the rendition of kritis in succession to delight the audience.
Sankaranarayanan warmed up with ‘Ninnu Kori’ Adi tala varnam in Mohanam and ‘Tatvamariya Tarama’ of Sivan in Ritigowla. ‘Swaminatha Paripalayam’ in Nattai provided gaiety. Efforts to format raga vinyasas for Suddha Dhanyasi and Vachaspati were made. ‘Subrahmanyena’ of Dikshitar and ‘Parathpara’ of Sivan were undoubtedly worthy selections.
Skilful throughout
The niraval segment of ‘Parathpara’ at ‘Hari Ayanum Kaana Ariyajothi’ followed by swaras showed passing sparks of ingenuity. The earlier swara kalpana in Suddha Dhanyasi had the same quality. Sankaranarayanan definitely has deft fingers but the trepidation and lack of continuity due to feeble plucking created a picture of superficial presentation with hesitant approach.
The important aspects of classical music, the alapana and swaras were therefore, tepid and it could be felt that Sankaranaryanan has the potential and impetus but a long way to go with rigorous training. Music, especially veena, demands a lot of practice and diligence and one can expect Sankaranarayanan exerts himself more to achieve perfection in his future programmes.
Though young, Abhilash on the percussion was conspicuously definitive and his performance exuded confidence in full measure. His understanding of the main player and the way he maintained the cadence and the structure, his tightly packed tani avartanam proved that Abhilash is a promising percussion boy to be watched.
Popular compositions such as ‘Bantu Rithi’ in Hamsanadam, Thiruppavai in Arabi, ‘Enna Tavam Seidhanai’ in Kapi and ‘Alai Paayuthe’ in Kanada filled the space.
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