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SIMPLY SENSATIONAL Priya Sisters transfixed the audience
SIMPLY SENSATIONAL Priya Sisters transfixed the audience

Two concerts were arranged by Narasimharaja Mohalla Sangeetha Sabha, Mysore, as part of the Purandara Thyagaraja Aradhana, and the inaugural vocal concert was by Rudrapatnam Brothers (R.N. Thyagarajan and R.N. Tharanathan), accompanied by H.K. Narasimha Murthy (violin), Tumkur B. Ravishankar (mridanga) and Manjunath (ghata). The veterans presented compositions which were opulent with lyrical values and which had the potential to invoke Bhakthi and Jnana, like "Shiva Shiva Shiva Yanaradha" of Shri Thyagaraja composed in Panthuvarali, "Shri Mathri Bhutham" of Muthuswami Dikshitar composed in Kannada and so on.The method of their presentations too had distinct touches of their scholarly acumen in the sense that there was no dearth of expertise and knowledge. Still a reasonable thirst for a deeper and profound experience which one anticipated from renditions of such compositions as above remained unquenched. Alapana-s in Panthuvarali and in Kanada (before "Vishweshvaro Rakshathu" of Dixithar), neraval at Agamamula in "Shivi Shiva Shiva Yanaradha", kalpana swara-s which followed the neraval and the over all framing of the concert itself all went fairly in favour of the artistes. Priya Sisters (Shanmukhapriya and Haripriya) transfixed the audience who, under the spell of their sprightly narrative drive, unreservedly showered their applauses. Of all their merits, clarity in reciting the texts, their musical diction made a very significant difference in conveying the import of the great compositions. With their professional approach the compositions turned out to be significantly attractive, but remained partly convincing. It may be opined that the above strong features, though at some moments were almost on the verge of carrying one's self into the deeper realms of experience, in fact, failed to accomplish such a transition for the simple reason that there was more emphasis on the dynamic aspects of music rather than on its sublime potential. Saving the above general observations, their expositions of Shahana and Kharaharapriya revealed that their sharp, crisp and bold but soft vocal faculties could span over the required sthayi-s with ease, incorporating fine modulations consequently maintaining purity of the swara-s which further unfurled their relative influences when used in different phrases, all with appreciable fluency and spontaneity. Nevertheless, by the time the concert was reaching its peak, their voices started showing clear signs of strain. "Chittam Irangada" (Papanasham Shivam) and "Chakkani Rajamargamu" (Shri Thyagaraja) were the hallmarks of their proficiency the presentations packed with deep and pleasing akara-s, varieties of gamaka-s, and characteristic and intricate sanchara-s. Choosing an optimum tempo for the whole sequence of narration, the artistes left no moment without scholarly representations. M.K. Krishnaswamy (violin - with occasional sprouts of versatility), Neyveli Skanda Subramaniam (mridanga could have been more gentle and majestic in strokes and patterns, particularly while complementing a composition like "Chakkani Rajamargamu") and Madipakkam Murali (ghata- crisp and relevant) accompanied the artistes. V. NAGARAJ

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