|
Entertainment
Connoisseur's delight
Kosmic 0352C / 0353C / 0354C - Carnatic Classical Vocal - Masterpiece - Maharajapuram Santhanam - Price not indicated.
KOSMIC HAS released three audio albums comprising excerpts of Maharajapuram Santhanam's live concert at the Krishna Gana Sabha in 1982. Lalgudi G. Jayaraman and Vellore G. Ramabhadran provide vintage support on the violin and mridangam respectively.
``Sri Maha Ganapathey" in Nattai by Sivasakthi has a lilting chittaswaram. Purists, however, may raise their eyebrows because of the phrase, `Ni Sa Ri Ma Ri Sa' in both the madhyasthayi and the tara sthayi in the last avartanam. The sarva laghu swaras by the vocalist and the apposite responses on the violin enhance the momentum of the proceedings. The niraval and swaras in the madhyama and the dhurita speeds are sure to keep even the die-hard critic spellbound. The alapana of Suddha Dhanyasi is a spontaneous flow of imaginative music, firmly scaffolded with pleasing karvais, slow soft prayogas initially and later crowned with clear brighas to present a wholesome portrait of the raga swaroopa. Lalgudi's version of the melody, unsullied by redundant prayogas, is the mark of a genius that leaves an awesome aural imprint. The suggestion of the pallavi line of the popular ``Himagiri Thanaye" draws a cheer from the audience. Santhanam's musical expression of Purandara Dasa's ``Narayana" accentuate the emotion embedded in the lyrics. ``Govinda ninna" of Purandara Dasa in Kalavathi and ``Tunga Theera virajam" in Raga Salaga Bhairavi and Ahir Bhairav do make for an ambience of peace and relaxation.
Harikamboji is a raga that needs an experienced musician like Santhanam to squarely establish its identity without trespassing into the forbidden Khamas or Kamboji territory. The vocalist's delineation is a classic display of his sensitivity to the raga's subtle nuances, and what followed on the violin was a musical artefact replete with soothing aesthetics, dignity and grace. Tyagaraja's ``Dinamani Vamsa" enveloped in an energetic demeanour and swara passages with poruttams by Santhanam and Lalgudi are immensely pleasant. The kuraippu in the daivatam sans any mind-boggling calculation paves the way for a lush rhythmic expanse by the seasoned veteran Vellore Ramabhadran.
The ragam chosen for the pallavi segment is Shanmukhapriya with the lyrics ``Priye Geetha Priye, Sangeetha Priye Sada shanmukha" set to Khanda jati Triputa talam. The musician's elaborate alapana in two stages covering the various delightful facets of the raga is just the connoisseur's cup of tea. Lalgudi's expansion transcending mere virtuosity and euphony once again stands testament to the fact that he is not only an artist with rare brilliance but also a precious gift to the Carnatic system itself. The tanam orally and on the violin free of squeaks, yet totally gripping, are all about conscious efforts all the way. The niraval soaked with raga bhava sustains listening interest. Mannargudi Sambasiva Bagavathar's ``Neeraja Dala Nayana" in Mand reminds one of the legendary Maharajapuram Viswanatha Iyer who had a fondness for this composition. The concert is signed off in style with the pleasing Vasanthbahar Tillana by Maharajapuram Santhanam, the lyrics of which extol the Paramacharya of Kanchi.
S.P.
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
|
