SOLO With a capable team in the rhythm section, Geetha Rajasekar showcased a traditional repertoire. P.S. Krishnamurthi
G eetha Rajashekar had full support of an ensemble that comprised V.V.S. Murari on the violin, Thanjavur Subramanian on the mridangam, H. Sivaramakrishnan on the ghatam and Bangalore B. Rajasekhar on morsing. A fairly good audience had turned out for the morning kutcheri.
Getting to a swift start with the Begada varnam ‘Inta', through ‘Sri Raghukula'(Hamsadhwani Desadi, Tyagaraja), Geetha went on to ‘Mamava Sada Tarunaya Rama' in Khamas; before an elaborate alapana of Varali. Dedicated karvais and gamakas with an appealing blend of brigas were presented in a unhurried manner, keeping ragalakshana in focus.
Murari came up with long, firm and resonant strokes of the bow, as his fingers deftly glided over the fingerboard, making do with one string to bring out a range of notes. His sancharas simulated human singing.
‘Mamava Meenakshi' of Dikshitar in misrachapu seems to be a favourite this season. Changing to duritakalam for the words ‘Maanikya Vallaki Pani Nadhura Vanivarali' had originality. For the niraval at ‘Shyame sankari,' the percussion, pot and reed joined in melodious unison, without being obtrusive.
Achutadeesa's ‘Sada Ananda Tandavan' in Bahudari and Adi was solemn and moving. One was delighted to hear the popular ‘Chakkani Rajamargamu' of Tyagaraja in royal double beat Adi, Kharaharapriya after a long time. The alapana was deliberate and elaborate in treatment by both Geetha and Murari, befitting the gravity of the composition. The niraval in the charanam (‘Kandiki Sundara') was a phase of abandoned musical offering from all artists on stage.
The eighteen-minute thani can be described only as a stretch of melodious rhythm. The mridangam gave the lead, the ghatam reeled off peals and the morsing produced ever new melodies. ‘Garuda Gamana Garudhvaja Narahari' in Hindolam was aptly interposed after this before the RTP item.
This rasika heard Madhyamavati for the fourth time during this series. The pallavi was executed in the traditional way in two chatusra and one tisra. The ragamalika kalpanaswaras took the audience through Saveri, Ranjani and Behag. Geetha concluded with the pacy ‘Jagadodharana' of Purandaradasa in Maand, Adi.