Majestic flow of sangatis
RADHA BHASKAR has a strong pleasant voice, covering the middle and the first half of the upper octave with clarity and adherence to sruthi, the sangatis flowing majestically. "Sree Maha Ganapathe" in Nattai was sung with tempo,with a string of kalpanaswaras. ``Jayajaya Padmanabha" in Manirangu and "Anandanatamaaduvaar" in Poorvikalyani were crisp.
Dikshithar's Navavarana krithi "Kamalambaam Samrakshathu'' (Anandabhairavi) brought out the essence of the raga effectively.
The main item was Varali and Papanasam Sivan's famous composition ``Kaa Vaa Vaa" came out well. Kailasam was short and sweet on the violin, playing some raga-filled phrases in Anandabhairavi and Varali.
Mudra Bhaskar gave good mridangam support and played an interesting tani avarthanam in Adi tala,with laya variations.
The saxophone concert of E. R. Janardhan was satisfying, the artiste showing good command over laya and raga exposition. The sound level for saxophone was moderate till three fourths of the concert, when the amplification was stepped up beyond acceptable limit, especially in a small auditorium and there was too much of echo during the rendition of the item in Kharaharapriya, which was played in a hurry, because additional time was spent on the earlier pieces.
"Abheeshta Varada (Hamsadwani) "Durga Lakshmi Saraswathi'' (Arabhi) and "Natajana Paripaalakana'' (Simhendramadhyamam) were impressively rendered.
Rajasekhar's answers on the violin were attractive and supportive.
Mannargudi Srinivasan was soft and effective on mridangam and he was ably assisted by Narasimhan on ghatam. Tani avarthanam was played with gusto in Adi tala 2 kallai for ¾ idam.
Veena Vidhushi Prabhavathi Ganesan showed her vidwat in ample measure in her recital, which was marked by manodharma, spontaneity, masterly grip over laya and regard for the emotive aspects of the ragas and the sahithyas. Starting briskly with the Khamas keerthana, ``Maathe Malyajasanjaathe," she played Papanasam Sivan's "Mooladhara Moorthy"
(Hamsadwani) with impressive kalpanaswaras.
Thyagaraja's Bindumalini composition ``Entamuddo" was full of softness and grace.
Raga essay in Hindolam was comprehensive,featuring several shades and nuances, followed by Swathi Tirunal Maharaja's "Padmanabha Paahi" with delectable kalpanaswaras. The latter part of the concert included some items with emphasis on devotion. ``Enna thavam Seidanai" (Kapi), ``Annapoorne Visalakshi" (Saama), ``Krishna Nee Begane" (Yamunakalyani) and "Venkatachala Nilayam" (Sindhubhairavi) clicked well with the listeners.
K. V. Gopalakrishnan on mridangam and N. Guruprasad on the ghatam gave percussion support with understanding and did a short interesting tani avarthanam in Adi Tala for ¾ idam eduppu.
S. R. GIRIDHAR
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