Ramakrishnan Murthy: A thinking musician

Ramakrishnan Murthy has emerged as a competent vocalist with an innate understanding of the lyrics and technique

It is, indeed, gratifying to note that Ramakrishnan Murthy, who has gained immense popularity, keeps his creative energy under tight leash through his musical wisdom. Recipient of ‘Isai Peroli’ title from the organisation this year, Ramakrishnan Murthy justified it in every way with his performance.

Muthuswami Dikshitar’s Navagraha kriti ‘Sri sukra bhagavantam’ in Paras set the pace. It was followed by Syama Sastri’s Ritigowla composition, ‘Ninnuvina marigalada.’ Here, Murthy embellished the kriti with a well-thought-out niraval at ‘Syamakrishnanuta’, but continued with swaraprasthara linked to the pallavi.

A lively Pantuvarali alapana became an apposite prelude to ‘Thaye ithu darunam’ by Kavi Kunjara Bharati. A brilliant niraval on ‘Santhatham adiyavar’ was further enriched with jet-set swarakalpana.

Violinist Charumathi Raghuraman responded well to the vocalist’s posers.

A gentle rendition of Tyagaraja’s ‘Nee bhajana gana’ in Nayaki filled the gap before the raga of the evening, Bilahari, was taken up. It got a detailed treatment by Murthy, who brought forth the significant facets of the raga. His perfectly groomed voice journeyed the high and low ranges with ease.

Swara round

Mysore Vasudevachar’s , ‘Sri Chamundeeswari palayamam’ was the chosen composition. After brisk rounds of swaras, the finale was reached with kuraippu swaras with panchamam as the focal note.

The concert, comprising rarely heard kritis that were rendered competently, was a treat.

Charumathi Raghuraman participated in the raga essays and rapid swaraprastharas, matching the speed and control of the vocalist.

Percussion support came from two talented young mridangam players: Delhi S Sairam and Sumesh Narayanan. Though the duo underplayed their roles during the vocal section, they took on a dynamic posture during the thani avartanam. Their sharp rhythmic exchanges drew thunderous applause from the audience.

The tail-end pieces included a Tamizh padam in Sahana ‘Ini enna pechchu’ and a melodic viruththam in Tamizh leading to ‘Irakkam varamal’ in Behag by Gopalakrishna Bharati.

Why you should pay for quality journalism - Click to know more

Related Topics
Recommended for you
This article is closed for comments.
Please Email the Editor

Printable version | Mar 31, 2020 6:56:06 PM |

Next Story