Commendable vocal control

Aravind Bhargav  

Carnatic musicians of the younger generation have to be admired for their quick comprehension and an eagerness for perfect execution. Hamsavinodhini, an outfit dedicated to Carnatic music, showcased two such fresh talents at the Arkay Convention Centre, Mylapore.

Kartika Vaidyanathan has a compliant voice and her vocal control is quite commendable. She started her recital with ‘Janaki Ramana' in Suddha Seemanthini and ‘Tulasi Dala' in Mayamalavagowla with a few cycles of swaras on ‘Saraseeruha.' There was a melodic rendition of Kedaragowla with ‘Samikku Sari Evvare.' Hemavati was elaborated with reflection on the raga's pleasing nuances reminding one of her guru Bombay Jayashri, known for her emphasis on melody and elegance. ‘Sri Kanthimathim' and the niraval Kartika opted for, ‘Sukha Sowarnakathi,' went well with the swara segment that followed. The post-thani once again offered dainty ragas such as Darbari Kanada (‘Govardhanagiri' ), Madhuvanti (‘Kanna Vaa') and Revati (Thillana). K.P. Nandini on the violin, created an impact with her responses in the right measure at the right junctures. So did Guru Raghavendran on the mridangam.

Tricky sangatis

Aravind Bhargav took some time to settle down with his paraphernalia as he was to play mandolin (a disciple of Mandolin Shrinivas) to the accompaniments of K. J. Dileep on the violin, T.J. Sowrirajan on the thavil and S Hariharasubramanian on the ghatam.

Aravind's proclivity to go for tricky sangatis and fast track extrapolations was obvious from the beginning of the Navaragamalika Varnam. Well, that fortunately neither deterred nor distracted him from the ‘gamakam,' which Shrinivas is acknowledged for.

Aravind's Shanmukhapriya (‘Siddhi Vinayagam'), the rhythmic ‘Aadinaye Kanna' in Mohanakalyani and the main Kharaharapriya were testimony to this; notwithstanding the many spins, spiralling phrases, racy passages and a few noisy sojourns, Tyagaraja' s popular ‘Chakkani Raja' emerged unscathed.

Performing to contrasting accompaniments seemed to hold novelty and charm; so here the thavil replaced the mridangam. Sowrirajan did not dominate and to a great extent maintained restraint to suit his percussion to the mandolin. Yet, it was, an odd combination. Dileep and Hariharasubramanian played their parts well in the team work.

No doubt, both youngsters have a long way to go, but both show a lot of promise.

Our code of editorial values

Related Topics
This article is closed for comments.
Please Email the Editor

Printable version | Sep 16, 2021 3:54:40 AM |

Next Story