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Simply traditional
THE PERFORMANCE of Vairamangalam Lakshminarayanan for Nadopasana served to emphasise that a simple, straight approach to music reveals the beauteous facets of Carnatic music more effectively than flamboyancy. Of course, he elaborated the ragas Vanaspati and Nayaki, but the sharpness of his focus on their identity without mystifying them was noteworthy. Brevity spoke of their essence. The other two familiar ragas Poorvikalyani and Kalyani were sprayed with pure Carnatic fragrance.
Though his husky voice impaired the melodic base of music, he was unbending in his adherence to sampradaya and so his interpretation was animated and lively. His cutcheri was testimony to the truth that music springing from parampara stock stands head and shoulders above the hackneyed, formula-driven performing pattern. There was variety in the presentation of the images of the ragas without mere ascents and descents of the scales.
It looked as if Lakshminarayanan wanted to commend his performance to Sri Thyagaraja. ``Thulasi Dalamula'' (Mayamalavagowla) and ``Paralokasaadaname'' (Poorvikalyani) gave a brisk start to the concert. The songs that followed — ``Parihaasakama'' (Vanaspati) and ``Dayaleni'' (Nayaki) and ``Mahita-Pravriddha'' (Kambhoji, a Lalgudi Pancharatna) — showed how they get nourished at the hands of a senior traditionalist like Lakshminarayanan. The Kalyani kirtana ``Etaavunara'' came out with the quiet force of dedicated music. Vairamangalam Lakshminarayanan carried the audience with him with all his assertive strength of vidwat.
The violinist S. D. Sridhar absorbed fully the method of the vocalist in his solo presentation of the ragas Vanaspati, Nayaki, Kalyani and Poorvikalyani, thereby inviting the rapt attention of the rasikas. Bombay Balaji (mridangam) and Purushothaman (kanjira) were very vigorous and energetic to pepper the songs with distinctive beats.
SVK
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