Pace deterred the tempo

Umashankar was commendable and adhered to patanthara while delineating the kritis.

Neat delineation: Umashankar. Photos: K.V. Srinivasan

How much depends on just the composition of a concert was demonstrated by Umashankar in his concert. But for his firm training on proper foundation and commendable performance, Umashankar's concert might go down in memory as a colourless one – partly because of the time of the day and much more as a result of the incongruous concert composition Syama Sastry’s ('Brova Samaya' in raga Chintamani), Jyotiswaroopini raga alapana, elaboration of Madhyamavati raaga, 'Rama Katha Sudha,’ with niraval at ‘Bhaamaa Mani Janaki,’ kalpanaswaras, korvais, et al. The concert, which began with 'Sri Mahaganapatim Bhajeham,’ was lively in parts. Despite the rousing Atana raga piece, the slow pace deterred the tempo. Following this up with 'Devi Brova' did not improve matters. Muthuswamy Dikshitar's composition 'Rame Bharata Paalita Raajyam Arpayaami' of Muthuswamy Dikshitar in Khanda chapu talam was very well delivered. Both Umashankar and K.J. Dileep did ample justice to delineating this raga, the 68th in the melakarta scale, which can be challenging to the voice and string alike. The niraval at 'Amaresa Aadi' and the kalpanaswaras were masterfully executed by both. If this item had shown up after an hour of brisk action, instead of within 20 minutes, as it did, it could have stood out more brilliantly to the listeners. 'Bhogindra Saayeenam' of Swati Tirunal in Kuntalavarali added spice with its Khanda chapu metre. Regrettably it was followed by Madhyamavati – just the wrong choice for noon time snoozers. In the rendering of 'Rama Kathaa Sudha' Umashankar showed commendable taste and patantharam. There were multiple kaleidoscopic tonal embellishments which were pleasant to hear. The kalpanaswaras at 'Bhaama Mani Janaki Sowmitri' was a pleasure to listen to. S.R. Ethirajan gave able support on the mridangam. The deep majestic strokes on the left side combined with the pleasant ringing on the right side to create mellifluous rhythms to aid the singing. The tani avartanam imperceptibly slipped into a scheme after kalpanaswara and lasted for about eight minutes. Dileep's violin, in a Parur style, was pleasant through out. There was perfection in his swaras. Umashankar concluded his concert with a tillana in raga Bhagyasri, Adi talam and a Tamil song in Kapi, Khandachapu, ' Iravamal Piravamal.'