Shrinath's vocal recital was refined and soothing
Mysore Shrinath sang at the Nadabrahma Sangeetha Sabha, accompanied by H.K. Narasimha Murthy (violin), P.S. Sridhar (mridanga) and Dayananda Mohite (ghata).
The singer is endowed with a soothing voice and that refinement had strongly shaped his approach to music, he could gently usher the mind into a state of repose. Throughout the concert, one would not find any move that was redundant and tricky: the singer thrived on sheer scholarship that invariably had classicism in it and on musical modesty that trod a path - serene and majestic.
The present concert spanning over more than three hours left no moment of laxity or levity either in the lively tempo or in the emotional fervor, be the presentation on hand — a varna or a kriti or a devaranama or a tillana.
Replete with all the above ingredients, Namakkal Narasimha Iyengar's “Vara Veena” (varna-Kamalamanohari), Purandaradasa's “Vandisuvudadiyali” (Naata) and Thyagaraja's “Merusamana” (Mayamalavagoula) laid a firm foundation for his manodharma to evolve in a systematic pattern.
An endearing short neraval at the charana – “Galamuna Shobillu” (in Merusamaana) followed by a few passages of swarakalpana richly equated with the sentimental expressions the Vaggeyakara contemplated in the composition. In all these areas, Shrinath's accomplishment illustratively established the importance of fine graces executed spontaneously in concordance with both the lyrical accentuations and their imports.
“Rama Ni Samaana” (Karaharapriya-Thyagaraja) stood as another testimonial to the success of the concert. Alapana spread over the necessary octaves, always in tune with the shruthi, gained more warmth and resonance in the higher pitches, exhibiting at the same time, remarkable consistency in volume and fineness.
The text and the method of rendition matched when he elaborated the charana “Paluku Palukulakuthene”, praising Shri Rama reminding the Lord of his bewitching radiance absorbing within its divine folds the entire creation, and that the devoted Seetha and his sweet-spoken kin are the manifestations of that one inseparable whole.
One may mark all the above merits in the other successive presentations too: “Kamalamba Samprakshatu” (Anandabhairavi-Dikshithar- mark the clarity in diction here), “Bhajare Re Manasa” (Abheri-Vasudevacharya-note the ideal tempo effectively conveying Bhakthi).
“Etavunnara” (Kalyani-Thyagaraja), focus of the recital, featured an elaborate alapana, a neraval at “Seetha Gouri” (charana) and passages of Swarakalpana followed by interesting tani avartana. The number was emblematic of well-defined scholarship and carefully refined imagination.
“Rama Mantrava Japiso” (Purandaradasa- convincingly highlighting the significance and meaning of the composition), “Yeshodhe Amma” (Sindhubhairavi-Purandaradasa- elevating to sentimental ecstasy) and many more constituted the concert.
Nevertheless, it seemed strange why an artiste of such a calibre should refer (though occasionally) to notes for promptings - a tendency compromising a natural and free emergence of manodharma, whatever may be the proficiency or maturity of the artiste.
Closely sensing the lead artiste's aesthetics, both the melody and the rhythm accompanists collectively reciprocated his ideologies upholding the dignity of classical music.V. NAGARAJ