Concert T.V. Sankaranarayanan proved that nothing works like experience and maturity. RANEE KUMAR
He was in full form. Whatever T.V. Sankaranarayanan took up — be it the Kalyani Needu charana pankajamula… where the neraval at Om jagajjanani… was replete with emotive tenderness with every repetitive line or for that matter the Tamil piece on Paramacharya of Kanchipuram, Punniyam oru kodi… (Periasami Thooran’s composition) in Keeravani or the Kambhoji where he rendered his uncle and guru Madura Mani Iyer’s famous Parimala Rangapathe… as RTP. His rendition reiterates the truth that nothing works like experience and maturity, especially in classical music. While the younger lot are touted as ‘wonders’ and ‘prodigies’, what marks the veterans who till date, can sing without a flaw either in tone or in diction, is the emotive output which underlines not just the composition but something as intangible as the raga or series of syllabic phraseology.
The speed cycles he scales are not a volley of supersonic swara patterns falling all over you, but a beautiful summing up of the raga’s life force. It is this which differentiates our classical music from the rest of the world’s music. In one simple line, it is spiritually elevating experience.
The pitch to which the artiste rose his tone while rendering the line, O jagajjanani manonmani… literally pictured a goddess who was at unreachable heights and to whom the one on the mundane soil had to really call out. The kalpanaswara that followed ended in the most endearing of tones with ‘amma’ which was the ultimate. Sarasamadana bheda danda chatura… in Kapi Narayani with neraval at Parama Shambhava… was as energetic as the lines with an improvisation to match. The viruttam- Nirmalamai, niramayamai… ’ on Paramacharya of Kanchi, that preceded the Keeravani, penned by the veteran musician himself, was vibrant, pulsating with life at every juncture. The tani was an equally exciting conversation between the mridangam player Neyveli Skandasubramaniyam and S. Venkataramanan on the kanjira.
Vittal Ramamurthy’s violin traced the vocalist like a shadow. The tanam was a steady, absorbed flow of creativity that seemed to prop up the Kambhoji raga vistaaram. Even a fast-track kriti like Yaar unnai pol aadharippavar… in Atana was bhava-laden in the manner in which it was presented. The concert marked the third day of Sri Chandrasekharendra Sangeeta Educational Society’s annual Thyagaraja aradhana fest at Keyes High School.