Youth to the fore

Venkatesan Srikanth
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Event Thalainagaril Marghazhi Mahotsavam - 2010 saw some promising youngsters and a masterful performance by K. Vageesh. Venkatesan Srikanth

Delightful Krishna Vageesh in performance.
Delightful Krishna Vageesh in performance.

H is concert was a fitting finale in the Thalainagaril Marghazhi Mahotsavam -2010 (December festival in the Capital) organised by Sri Hayagriva, a newly floated organisation, jointly with Lok Kala Manch. Spread over three weekends, the festival showcased the home-grown budding talent in the field of fine arts. On the last day of the festival, Capital's senior artiste, K. Vageesh delighted the audience with his vocal concert infused with some well presented compositions. He revved up his recital with a short ragam-tanam-pallavi. Though it was short it was complete with the technicalities. Thoughtfully, it was also reflective of the theme of this festival. He presented brilliantly the pallavi ‘Thalainagaril marghazhi mahotsavam ranjaniya gana natyotsavam' in the raga Ranjani and set to thisra jathti tiruputa tala in kanda nadai. While the emotive aspects of the raga came to the fore during delineation, the subsequent tanam was comforting. Earlier, Vageesh presented in detailed manner, Harikesanallur Muthia Bagavadar's ‘Adityam Devadidevam' in the raga Mayamalavagowlai and Mysore Vasudevachar's ‘Brochevarevarura' in the raga Khamas. While singing these, he brought out the raga bhavas embodied in these compositions to the fore. The features of these ragas too were brought out in stages during the raga alapanas. Creativity flowed when neraval of phrases (‘sakalacharachara karma sakshinam' for the former composition and ‘Aturamuga karirajuni brocina vasudevude nivu gada' for the latter) and swaraprastharas were handled.

R. Sridhar, a promising violin accompanist, rose to the occasion. His delineation of ragas Khamas and Ranjani was delightful. Kumbakonam N. Padmanabhan on the mridangam and Mannai S. Kannan on the ghatam provided perceptive percussion support. Their detailed tani avartanam in the adi tala and later on brief one in thisra jathti tiruputa tala-kanda nadai were riveting.

Delhi's budding artistes, including Anirudh Bharadhwaj (disciple of P.N. Krishnan), Aishwarya Lakshmi (disciple of Padma Natesan) and S. Aruna (disciple of Radha Venkatachalam) presented impressive performances during the festival. In general, presentation of kalpita music (music as learnt) is a strong point in all of them. Considering that most of them have been brought up in the Capital, the neat diction of lyrics, particularly those in Tamil, was striking. However, there are areas like concert structuring in which these promising youngsters should concentrate more. They also need to walk that extra mile as far as manodharma music (creative music) is concerned, particularly the delineation of ragas and presenting neraval.



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