The expository method in the concert of Subhiksha Rangarajan was marked by her instinct to impart aesthetic nourishment to kirtanas.
This innate artistic process addressed the core of emotion in the compositions of Tyagaraja, at the recital on Bahulapanchami day organised by the Sri Thyagaraja Seva Samiti.
The sangatis and the structure of the songs were meticulously chiselled and the interpretation emerged with sensitivity. If good music is characterised by the poise of peace, Subhiksha's rendering of ‘Sujana Jeevana Rama' (Khamas), ‘Manamule Da' (Hamirkalyani) and ‘Evaru Manaku Samanam' (Devagandhari) was distinctly gracious and ennobling.
Interesting combinations
Subhiksha revealed that concepts and values fundamental to Carnatic music, were at the back of her mind all the time.
In the alapanas of ragas such as Durbar (‘Ramaabirama'), Hamirkalyani and Khamas, it was interesting to see how she transformed the sanchara combinations into telling images of their facets.
The endearing aspect of the performance was the lucidity with which she laid before the listeners her essential motivation to link ragas and songs to their musical respectability. One encouraging factor was that the raga development was not swara-derivative but moorchana based.
The major raga Subhiksha handled was Thodi with the rakti-packed kirtana ‘Dasarathe Ni Runamu.'
The beauty of bhakti-bhava in the kriti was well focussed and a vein of musical fervour permeated every segment particularly the anupallavi ‘Asa Theera Doora Desamulanu.' With devotion she dwelt on the ravishing sentiment of the song.
Earlier, the Thodi alapana with felicity of flow of sancharas and crispness was suggestive of the monumental piece that followed. The simple straightforward presentation, though familiar, was impressive. It was a continuous progress of the development process. The first few movements were in the nature of a search for full expression of striking musical impulses.
The shared experience between Subhiksha and the violinist Akkarai Swarnalatha marked a significant aspect of the recital.
The violinist's version of the ragas was a study in composed musicality marked by flawless sancharas.
The mridangam player Guru Raghavendra was very considerate in extending his assistance and his controlled manipulative patterns enhanced the overall balance of the concert.
