One could perceive an unusual freshness in Ashwath Narayanan’s vocal recital for Bharat Kalachar, at the YGP Auditorium. Though the Pagavadi Varnam (Hamsadhwani) and ‘Rara Maintikidaka’ (Asaveri -Tyagaraja) with fiery kalpanaswaras made for an effervescent opening, the artiste soon got into a relaxed mode to offer an inspiring sketch of Sarasangi, followed by a leisurely rendering of Ramaswami Sivan’s ‘Nikela Dayaradu’ in Jhampa tala. The elaborate niraval at ‘Saketapuravasa’ and kalpanaswaras displayed his competence in evolving new exciting patterns.
The leisurely pace continued in the rendering of the Mukhari kriti, ‘Arivar Yarunnai’ (Misra Chapu) of Arunachala Kavi. ‘Sharashara samaraika’, the Kuntalavarali piece of Saint Tyagaraja, has a built-in vibrancy, in order to describe the valour of Sri Rama. Ashwath was at his best in deploying racy sangathis and equally rapid swaras.
The intricate Purvikalyani alapana that followed was again unhurried. He handled this delicate vakra shadava-sampurna raga with precision.
On the violin, R. Raghul offered an equally charming and benign exposition. Ramanathapuram (Poochi) Srinivasa Iyengar’s stately kriti ‘Paramapavana Rama’, has a lovely chittaswara that he rendered in both kalas. Niraval and swaras were at the usual ‘Kanakambaradhara’. The concluding swara korvai is still echoing in my ears.
The thani by R. Sankaranarayanan (mridangam) and Anirudh Athreya (ganjira) was unique in every sense of the term. The left-handed artiste Sankaranarayanan creates rhythm of many dimensions.
Swati Tirunal’s Aliveni padam overflowed with melody. Dharmpuri Subbarayar’s Paras javali, ‘Smara Sundaranguni’ provided an apt conclusion to an impressive musical fare.
