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Aesthetics ruled

s. sivakumar
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VOCAL Fidelity to grammatical structure was accorded importance and the songs were expressively sung. s. sivakumar

QUITE A VARIETY: Vaikkom Jayachandran. Photo: R. Shivaji Rao
QUITE A VARIETY: Vaikkom Jayachandran. Photo: R. Shivaji Rao

M elodious voice is a great asset of Vaikkom Jayachandran. The raga Kalyani (‘Ninnuvina Gathi Gaana,' Subbaraya Sastri) that he presented at Infosys Hall, Sri Ramakrishna Mission School, T. Nagar, held under the auspices of Mudhra, came with many aesthetic arcs.

Sweetness prevailed when he elaborated Abhogi earlier (‘Sri Lakshmi Varaham Bajehum,' Dikshitar) which contained caressing musical passages. His orientation belonged to a calibre that never would resort to unwarranted jerks or flashy contrived phrases that would attempt to merely gain audience attention.

Fidelity to grammatical structure was accorded sufficient significance and the songs were expressively sung to reflect their profundity.

The concert had songs in good number. ‘Mahaganapathe' (Hamsadhwani, Indira Natesan), ‘Paripalayamam' (Ritigowla, Swati Tirunal), ‘Muddumomu' (Suryakantham, Tyagaraja) – all of these occupied the initial phase.

Surprise inclusion

‘Pazhani Nindra' (Kapi, Periasami Thooran), ‘Theruvatheppo Nenje' (Khamas, Neelakanta Sivan), ‘Sankara Srigiri Nadhaprabho' (Hamsanandhi, Swati Tirunal) and ‘Sri Madhava Vasudeva' (Papanasam Sivan's Sanskrit composition in Behag) came during the post-thani section. There was a song that was not much in circulation, ‘Sari Samana Deivamu' in Vitapi (lyrics by Venugopal), tuned by the singer's guru T.M. Thiagarajan.

‘Sri Rajagopalam' (Mohanam, Dikshitar) came as a surprise inclusion with an eminently listenable niraval at Naradadhi Krutha Bhajanam Nadha Laya Sukha Vidhitham.

The rasikas had the benefit of another niraval with all its customary features at the Kalyani kriti's Anupallavi – ‘Vinutha Palini Nee Vanuchu.' Jayachandran's creative swara endeavours, that formed part of quite a few kritis in this concert, peaked when he imaginatively used the three notes “Ma Ga and Ri” to good effect by prefacing them to the line, ‘Sama Vedam Varam Varam,' for the kriti ‘Nadhathanumanisam Sankaram' (Chitaranjani, Tyagaraja).

Violin accompanist Madurai Balasubramaniam's alapanas for Kalyani and the other ragas were after his vision of the ragas and that applied to his scintillating swara replies too. He has inherited the majestic bowing technique quite characteristic of the MC (M. Chandrasekaran) school but one could only see glimpses of it on this day.

Chennai S. Thiagarajan on the mridangam and Nergunam Shankar on the ganjira formed the laya duo and excelled by adopting controlled and gentle playing methods for the songs.

Their thani showed the understanding that existed between the vidwans that was exemplified in the many avartana exchanges that came about. This concert was held under the auspices of Mudhra.

(sivakumar2004@gmail.com)

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