A nagaswaram duet and a vocal concert were programmes presented in Thrissur as part of Akashvani Sangeet Sammelan – 2018 in Thrissur. One hour is hardly sufficient for any classical music recital, but V Ramesh and V Subramaniam (nagaswaram) and Balamani Eswar (vocal) proved their virtuosity within the prescribed time.
The duo began their recital with Thulaseevanam’s Bhaja manasa vigneswaram in Adi. Perfect synchronisation between the two was evident as they slipped into the rare raga Simhavahini. A janya raga of the 27th mela Sarasangi, it was brought to light by Tyagaraja with just one composition Nenarunchara set to Adi tala. Moreover, it is shadava sampoorna as well. The same composition was presented in a delightful way.
Nagaswaram recitals are specially noted for elaboration of ragas. But Ramesh’s was a brief description of Latangi and an elaborate portrayal was reserved for the main raga to follow. Still, he could explore Latangi in a capsule form for which Subramaniam also contributed in no small measure. Patnam Subramania Iyer’s Marivere dikkevaru Ramayya in khanta chap, though short, was really pleasing.
The ornate style, a distinctive feature, of the instrument while deliberating on a raga, was evident in the treatment of Kharaharapriya, the main raga of the concert. The musicians complemented each other and gradually ascended to the higher sthayi, thereby highlighting the appeal of the raga. They manner in which they moved into the lower register while concluding the alapana was quite alluring. An invocation to Sree Padmanabha by Swati, the composition was Sadatham tavaka pada sevanam in Adi.
Percussion accompaniment by B R Venkatesh on the tavil was energising. Notably, the percussion interludes served to fill the gap between the charanams in all the numbers. Tani was equally impressive as he was assisted by Sudhakar on the tavil. But providing separate microphones for tavils, especially when the concert is held in an auditorium, appeared counterproductive as they drowned the main music. The musicians concluded the recital with Mahadeva Siva sambho in Revathy and Adi.
Any attempt to present a vocal recital following a sonorous concert, that too on the same platform, is a challenge, especially for a female musician.
But Balamani Eswar cleared it with her voice and ability to explore nuances of the compositions she presented. Behag varnam Vanajaksha in Adi by TRS was crisp and an indicator of her musical competence. It was an apt choice since the number was heard in Thrissur after a long break.
Gambhiranatta manifested in the composition of Maharaja Jayachamaraja Wodeyar’s, Sri jalantharam in Adi. A melodious raga on account of its pentatonic and symmetric scale, Balamani did justice to the composition.
Tyagaraja’s Apparama bhakthi in Roopakam was prefaced by a prolonged alapana of Panthuvarali. But soon followed the main raga Madhyamavathy, the elaboration of which was on a par with that of the former. While the alapanas highlighted the competence of the musician in essaying the varied shades of the ragas, it could have been more effective if she had chosen a short composition as a filler between the two. The Madhyamavathy composition was the sought-after Sayma Sastri kriti Palimsu Kamakshi pavani in Adi. Niraval was at Karunya moorthi and there was a flow of swaras. A G A Gnanasundaran (violin), R Sriganesh (mridangam) and Anchal Krishna Iyer (ghatam) supported her in a disciplined manner. Balamani wound up with the Lalgudi tillana in Sindhubhairavi.
While Akashvani’s practice of announcing details of the compositions prior to each number was welcome, the announcer confused both the musician and the audience by giving wrong particulars about the first three numbers. This could have been avoided. The programme was organised by the Thrissur station of All India Radio.
