The young and talented N. Ramamurthy gave a vocal concert for South Indian Cultural Association (SICA), last week at Ravindra Bharati’s conference Hall. He was accompanied by R. Dinakar on violin, P.Vijayabhasker on mridangam. Ramamurthy’s performance owed much of its success to the choice of ragas and compositions and his reverence to the tradition with good voice control, fine touches and measured pace.
Ramamurthy opened with a Kanada varnam Nera Nammiti in two speeds revealing his vocal tenor and appeal in right proportion. The next number he chose was Vallabha Nayakasya in Begada of Dikshitar, a Sanskrit number that he rendered with right approach to the sahitya element. Though the swarakalpana he presented at the end was brief, it made its own impact because of quality in brisk kalpanaswaras. The following number was Pasuram from Tiruppavai, a rendition that suited the season. It was quite interesting to listen to this devotional number.
There appeared then a rare number EeKamakshi in Yadukula Kambhoji of Andavan Pichai, which he presented with ragalapana, neraval and kalpanaswaras that carried their own charm and kept the audience focused on the sahitya. There appeared then three compositions of Tyagaraja and the way Ramamurthy rendered them with good command on sahitya and its appeal breathed freshness. These numbers were Orajoopu Joochedi Nyayama in Kannadagowla, a simple kirtana presentation; Paramatmudu Velige in Vagadeeswari, a comprehensive number with full fledged raga expansion and swarakalpana and Ennadu Joothuno Inakula Tilaka in Kalavati an appeal of a Bhakta eager to see his Lord. The latter number laid base for the presentation of the main raga of the concert, also of Thyagaraja, Chakkani Raja Margamu in Kharaharapriya. The raga delineation was exemplary in that the expansion of the raga was methodical built step by step, phrase by phrase, so as the audience enjoy every bit of traditional expansion of the raga taking it from base to Tarasthayi and in reverse process. The rendition of the kirtana too was clear in expression and audience could easily make intent of each of these lines as this number was oft repeated by different vocalists. The swarakalpana too exhibited his imaginative skills taking it to a fine climax. Violinist Dinakar and mridangam artiste Vijayabhasker too left an impression with their expert support.
Later, Ramamurthy presented a few interesting numbers, one of Patnam Subramanya Iyer – Saramaina Matalentho in Behag, Narayanateertha’s Tarangam Govardhana Giridhari in Darbari Kanada and a Tillana in Poorvikalyani.
