A guru imparts two vital aspects of Carnatic music to a disciple – one is highlighting the specific values that a vaggeyakara has built into his compositions; and the other is preserving the dignity and decorum of a raga alapana.
Lakshmi Rangarajan, in her concert for the Sri Thyaga Brahma Gana Sabha, brought out these two features with emphasis.
‘Chetasri Balakrishnam' (Dwijavanti) and ‘Sri Krishnam Bhaje Manasa' (Thodi) laid bare Dikshitar's characteristic approach to music. ‘Manavyala Kinchara' (Nalinakanti) and ‘Venuganaloluni' (Kedaragowla) exemplified the lilt and lyrical genius of Tyagaraja.
Accent on alapanas
As regards the alapanas, Kalyani (‘Vasudevayani') and Thodi stood out for dignity and decorum. What was endearing in the alapanas was the delicately structured raga images. The sanchara rakti was overpowering. Karvais, cadences and vocal tenderness formed part of the rich tapestry of the alapanas. Mellifluous raga lines and gentle nuances are well suited for Lakshmi's voice. The concept, development and expressional expertise showcased the beauty of Kalyani and Thodi in full flow. The most distinctive quality was the artist's commitment for chaste exposition.
The classic stature of the kirtanas blended well with her facile ability for natural interpretation. Clearer the presentation of the songs, more wholesome their impact became, specially Dwijavanti and Nalinakanti. The truth is the beauty of a raga or kirtana is simple, but the challenging aspect for a musician is to keep it simple. Lakshmi Rangarajan passed this test admirably.
The violin support came in a good measure from Usha Rajagopalan. The ragas at her hands got gloss and precise phrasings. Mannarkoil Balaji (mridangam) and Nerkunram Sankar (ganjira) capped the concert with their energetic tani.
