R.K. Prasanna Kumar sang at Prasanna Sundararama Mandira (Ramanavami concert), Mysore. His bold voice presented the numbers with appreciable virility — the articulations traversing three sthayis with ease. Interestingly, general style resembled that of veena (vaadyakaku). By singing in different pitches, particularly in the mandra, Prashant (co- singer), created special effects, working as admirable ornamentation.
Dikshitar's “Sidhivinayakam” featured both an alapana and few passages of Swarakalpana. “Hiranmayim” (Lalitha-Dikshithar), “Brochevarevarura” (Khamach – Vasudevacharya - with brisk and attractive chitteswara-s), “Narayana Ninna” (Shuddha Dhanyasi-Purandaradasa), “Mamava” (Manirangu-Dikshithar), “Kanukontini” (Bilahari-Thyagaraja-with neatly drawn alapana) and “Bhaavayaami” (Ragamalika-Swathi Thirunal) constituted the concert. He focused his attention on Keeravani raga-taana-pallavi (Prasanna Sundararama).
Thyagarajan (violin), G.S. Ramanujan (mridanga) and V.S. Ramesh (morsing) accompanied the singer.
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Indudhar Nirodi's fertile imagination evolved into music par excellence at the Swarasankula Sangeetha Sabha. Veerabhadrayya Hiremath (harmonium) and Bheemashankar Bidanur (tabla) provided complementing and inspiring saathsangat.
The event started with the badha khyaal, “Abto Sunale Banake” in Bhimpalasi, and the rag started blooming as the veteran singer's extempore, fortified by his repertoire, knew no bounds in matters of imagination, order, method and majesty. True to this khayaliya's (a dhrupadiya too) lineage traceable to Agra gharana, the aalap started gaining its momentum built on both the units of akaar-aalaap and nom-tom aalap-s, conforming to the accepted and expected standards of an ideal badhat.
Movements commencing in the madhya and mandra saptak-s progressively built the morphology of the raga; and imaginatively and expressively created meends finely supported by kan-s infused life and melody into those progressions, the nom- tom sections vivifying them.
The lyrical sections instilled definite sentiments into developments when he delicately intertwined the bolalaap-s, boltaan-s and sargam-s; the listeners heartily enjoyed the essences of both the cheez and the raag. The taan sections fully harmonised with the general import, in addition to substantiating the artiste's firm hold over the rhythm. As such, the passages terminated in precise sam-s with astounding felicity as if they were natural extensions of the progressions, and not something executed for any ostentation.
A smooth transition from badha to chota khyal, “Gore Mukhso More”, which he interpreted with pleasing bolupajs-s and sprightly drut taan-s, suitably assisted by the percussionist (all careful not to interfere with the melodic and the gentle aspects of the number) was another exemplary benchmark set by the artistes on the stage. The melody accompanist's vocal style of playing harmonium closely following the mature style of the lead artiste was an exceptional feature.
Patterns of taans varied with different raga-s and bandhish-s, ruling out stereotyped articulations. In some (take for example the above number) sapaat taan-s and shudh taan-s decorated the cheez, in others (for example, “Kaise Ghar Jaavu” — Hamir) phirat taan-s took the lead. In this respect, “Maayi Mere Nainan” (Purvi) featured interesting heavy gamak-s in the antara section, “Chit Me Bas Gayi”. One could also get glimpses into shades of Jabde ki taan-s in the concert.
So “Jaanu Re Jaanu” completed by Jata Jhut (in Shankara), Tarana (Khamaj) and “Babul Mora Naihar Chuto” (Bhairavi) constituted other highlights.
