Magical spell of music
T. N. KRISHNAN is a slave to melody and reposefulness of music which cast a magical spell on the listeners at his concert for the Tyagaraja festival at Tirupati with the raga alapanas of Sahana ("Vandanamu Raghunandana"), Abheri ("Nagumomu"), Sriranjani ("Sogasuga") and Mukhari (an Annamacharya song).
What the performance revealed was the importance he gave to expressional restraint. He scanned the ragas with an eye on beauteous light and shade.
As a violinist, T.N. Krishnan is an era in himself. He lingered joyously in interpreting the kirtanas.
Tiruchi K.M.S. Mani (mridangam) in the company of Tiruppuniturai Radhakrishan (ghatam) overlaid his laya support in soft idioms. In the tani they let go to proclaim their laya pedigree.
R.K. Sriramkumar's violin, in the solo session, building Bhairavi's resplendent sancharas in the madhyama and tara sthayis made sure that he accomplished the aim kept in view. Arun Prakash on the mridangam was bright and articulate in integrating the gentle and forceful patterns to suit the vocal modulations of Krishna.
Emphasis on talent
The emphasis in the violin duet performance of Lalita and Nandini was on their talent, served with controlled expressions in raga alapana and rendering of kirtanas.
It focussed on the Spartan training in their learning years. If the beauty of a raga lies in its quiet calming effect, Lalita's Mandavi and Nandini's Madhyamavati provided it. Kumbakonam Saravanan (mridangam) was a picture of an energetic percussionist taking along with him the ghatam artiste Jayaraman.
The harmonies of the two veenas by Padmavathy Anantagopalan and Jayanti Kumaresh blended well to present quality music.
It was not a miscellany of spur-of-the moment technique but commanding impressiveness. K.R. Ganesh on the mridangam played with great restraint.
The kirtana session of Malladi Brothers, Ravi and Sriram, appealed because of the articulation of the sahityas of "Chutamu Raare" (Aarabhi), "Sandehamu Tirpavayya" (Ramapriya) and "Urake Galguna" (Sahana).
But the duration of alapanas of Ramapriya and Sahana, the main item, was tiresome. They were ornate and elongation deprived them of substance.
M. A. Krishnaswamy (violin) and Madirimangalam Swaminathan (mridangam) got along with the vocalists in their own wavelength.
The cutcheri of Trichur Brothers, Sri Krishna Mohan and Rama Kumar Mohan was prosaic in content, the raga alapanas of Brindavana Saranga ("Kamalaapta Kula") and Karaharapriya ("Rama Nee Samana") being sallow in effect and the songs routinely rendered. Challa Prabhavathy's violin accompaniment was felicitous.
Trichur Mohan (mridangam) was almost in the same tenor.
Sabari Girish's effort was methodical in building up the programme containing "Momu Joopavemi" (Durbar), "Kanta Joodumi" (Vachaspati with an alapana).
He neatly presented the Todi kirtana, "Koluvamaregada." Challa Prabhavathy (violin) and Bhaskar (mridangam) were the accompanists.
The Pancharatna songs were rendered by a group of youngsters who have been trained on austere and Spartan upbringing by Sulochana Pattabhiraman. As one heard the programme it was rather difficult to praise whom the guru or the disciples.
With perfect co-ordination between the vocalists themselves on the one hand and with the instrumentalists (violin, flute, veena, mridangam and ghatam) what struck a rasika was the sheer self-confidence they exuded.
It was a very heart-warming experience to the listeners who were fed with music of different qualities for ten days.
Hyderabad Sisters, Lalita and Haripriya, recipients of the Saptagiri Sangeetha Vidwanmani title, lived up to the occasion with an exhilarating recital.
Comprising Mohanam ("Maati Maatiki") and Shanmukhapriya ("Vaddane Vaaru Leru") two unfamiliar songs. The presentation of the aesthetics of these two songs was the high watermark.
The manodharma and expression of Mohanam alapana were in harmonious precision.
Dwaram Satyanarayana provided modest violin accompaniment and D.S.R. Murthy (mridangam) padded the songs intelligently.
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