Vijay Siva’s music recital on the second day of the Tygaraja aradhana celebrations showed his perceptive penchant to bring out the aesthetic composition of the rakti of the ragas and make it seep into the consciousness of the listeners. His total involvement and commitment in making it possible made the kutcheri a class apart. Flagging off the concert with ‘Janakiramana’ (Suddhaseemanthini) the following ‘Sogasuga’ (Sriranjani) was a musically elegant version. His alapana of Pantuvarali for the kriti, ‘Raghuvara’ with unusual prayogas exuded the raga bhava in a positive style.
The kritis, not commonly handled by artists, ‘Bhajare Bhaja Maanasa’ (Kannada) and ‘Evarani’ (Devamruthvarshini) were impressive presentations. In the raga vinyasam of Sankharabharanam, the crest-jewel of the kutcheri, the raga was unfolded with appropriate moorchanas revealing the vocalist’s vidwat and manodharma for the kriti, ‘Enthuku Bethala.’ Delineation of Kaapi with appealing phrases in the middle and upper registers was awesome for the kriti, ‘Intha sowkya.’
‘Lavanya Rama’ (Poornashadjam), ‘Dasarathanandana’ (Asaver), ‘Nee Dayache Rama,’ and ‘Pavanastuti’ were the other items on the agenda.
Vittal Ramamurthy’s mature approach in his solo versions of the ragas and swara repartees with his deft bowing added extra charm. The tonal variations of Vaidyanathan on the mridangam supplemented by Mohanram on the ghatam buoyed up the concert.
Restrained rendition
The performance of Malladi brothers, groomed by the veteran Nedunuri Krishnamurthy, was characterised by fullness of expression in raga vinyasams and presentation of kirtanans with clarity in diction featured at the Tyagaraja aradhana celebration, Sullivan street, Coimbatore. A unique fragrance of Nattai wafted in with the commencement of ‘Ninne Bhajana’ with swaras. The following ‘Sreenadhadhi Tyagaraja’ in Kalyani and ‘Ma Baala’ (Asaveri) were well-restrained renditions steeped in raga bhava. The Kedaragowla raga alapana for the kriti, ‘Venuganalolulu’ with its characteristic idioms and apt niraval and swaras were refreshing. Their Mohanam alapana was a linear development interspersed with swift creative flashes through the octaves and a comfortable negotiation with the mandhra sthayi for the kriti, ‘Mohana Rama.’ The devotional aspect of their music was evident in ‘Theliyaleru Rama,’ ‘Amma Ravamma,’ ‘Koluvayunnade’ and ‘Rama Rama Seetha.’
Balasubramaniam imparted deft touches and delicate shades to Mohanam on the violin. The compelling enthusiasm of Prakash’s rhythmic sallies on the mridangam with Suresh’s (ghatam) was an apogee of rhythm.
Failing voice
Adhering to classical roots with his voice not fully cooperative nowadays, Santhanagopalan’s recital was on the regular beaten track. The aesthetic finesse of his music was missing due to the failing rich timbre of his voice. His spirited Viribhoni varnam in Bhairavi in two speeds and ‘Vathapi Ganapatim’ (Hamsadhwani) with ingenious swara presentation were lively. His alapanas of Kamavardhini for the kriti, ‘Raghuvara Nannu’ and Thodi for ‘Karthikeya Gangeya’ were monotonous while negotiating the octaves. ‘Orajupu’ (Kannadagowla) and ‘Brocheva’ (Sriranjani) were fluent versions. Sunderrajan maintained his identity with his style of bowing in the raga versions. Sankaran’s (mridangam) and Rajan Ganesh’s (ganjira) punches made the concert enjoyable.
Rich in melody
Mala Chandrasekhar’s agile flute concert on the concluding day began with the Khamas Daru of Muthaiah Bhagavatar, ‘Mathe Malayadwaja’ prefacing it with a verse on Lord Dakshinamurti followed by ‘Bantureethi’ (Hamsanadham) with niraval and swaras preceded by a brief alapana for the kriti. Her Thodi raga delineation for ‘Raave Himagirikumari’ was full of melody and depth. After ‘Thaye Thripurasundari’ (Suddhasaveri), her raga vinyasams of Gowrimanohari (‘Varalakshmi Namosthuthe’), Mohanam (‘Kadambaripriye’) and Kaapi for Ragam, Tanam, Pallavi were replete with aesthetic notes. There was sharpness acuity in them without making it extravagant. Her raga sancharas for the Pallavi ‘Devi Shalini’ in Saama, Kalyana Vasantham, Valachi, Ranjani and Amritavarshini were full of musical sentiments. Gopinath (violin) gave a good account of himself in the solo versions of the rags with flashes of creativity and originality. Skandasubramanian (mridangamn) and Suresh (ghatam) guided the concert with their forceful and improvised play in the thani.
