Sri Thyaga Brahma Gana Sabha Music

At ease in the higher octaves

Kalaimagan performing at Vani Mahal

Kalaimagan performing at Vani Mahal   | Photo Credit: S_R_Raghunathan

Perfect intonation added richness to his rendition

Good control over sruthi and laya marked the afternoon concert of T. Kalaimagan at Sri Thyaga Brahma Gana Sabha. A disciple of Muthukumarasamy and grandson of Villuppattu exponent, Subbu Arumugam, his confident delineation of both Mayamalavagowla and Pantuvarali brought his aesthetic sense to the fore. Kalaimagan handled the higher octave notes with ease and occasionally experimented with fast sangathis in that realm.

His swaraprasthara in the right tempo added richness to his singing. In ‘Aadikkondaar andha vaedikkai’ the swaras were at ‘Aaranavamani maalaigal.’ This is one of the gems of Muthu Thandavar.

Deft touches

In Pantuvarali, the majesty of ‘Naradamuni Vedalina’ (Tyagaraja) was a refrain to be savoured. His intonation in most of the kritis including, Muthuswami Dikshitar’s ‘Ananda Natana Prakasam’, were perfect. Deft touches were apparent too.

Kalaimagan commenced his concert with a Saveri Varnam. His swaraprasthara at ‘Velayudha Guhan,’ in Papanasam Sivan’s ‘Mooladhara Murthi’ (Hamsadhwani) brought forth his musical prowess. M. Srikanth on violin offered excellent support throughout. His Pantuvarali alapana deserves special mention.

The grooming under a veteran came through in the mridangam playing of Ambur Padmanabhan, who is a disciple of T.V. Gopalakrishnan. His thani in Adi tala tisra nadai was a thing of beauty. Kalaimagan wound up his concert with Bharatiyar’s ‘Eththanai kodi Inbam’ (AhirBhairav) and Gopalakrishna Bharathi’s ‘Irakkam Varaamal’ (Behag), popularised by K.V. Narayanaswamy.

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Printable version | Jun 3, 2020 6:51:16 AM |

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