In tranquil zone

Papanasam Ashok Ramani's line-up had kritis mostly of Papanasam Sivan and Tyagaraja. Saketharaman's Ranjani RTP was a veritable treat for the rasikas.

December 22, 2011 04:32 pm | Updated 04:32 pm IST

Involved: Papanasam Ashok Ramani. Photo: R. Shivaji Rao

Involved: Papanasam Ashok Ramani. Photo: R. Shivaji Rao

He is the grandson of the great Tamil Tyagayya, Papanasam Sivan, and son of Dr. Rukmini Ramani, who is an eminent musician in her own right. Thus, music is natural to Ashok Ramani. That is precisely why he chose to be totally involved and committed to it, although he is a BE (Mech) degree holder.

In his concerts, Papanasam Sivan used to avoid his own compositions and instead enjoy rendering Tyagaraja kritis. For his concert at Mudhra, Ashok Ramani appropriately chose ‘Thanayuni Brova' (Bhairavi) of the saint as the main piece of the evening, after a detailed alapana. V.V.S. Murari offered a scintillating delineation, enriching the overall music element. And that precisely is the role of any eminent accompanist. Ashok Ramani chose the charanam, ‘Vatsamu Venta' for expansive niraval and swaraprastaras. His korvai was simple and elegant. Yes, he is a mridangam vidwan, too. Neyveli Narayanan (mridangam) and Tiruchi Murali (ghatam), who were providing inspiring support throughout, offered a scintillating thani.

One of Papanasam Sivan's master pieces, ‘Venkataramana' in Lathangi (Rupakam) was rendered with zeal. His exposition in the lower and middle octaves was soothing. Murari's alapana was equally enchanting. Niraval and swaras were at ‘Alarmelmanga.' ‘Ini Oru Kanam' (Sriranjani-Rupakam) of his grandfather was another kriti he rendered, creating a feeling of tranquillity. His delineation brought out the depth of his knowledge in the raga. He rendered swaraprastaras at the pallavi itself.

Ashok Ramani commenced his performance with Kothavasal Venkatarama Iyer's Saveri varnam, ‘Sarasooda.' It was followed by ‘Sarasiruhasanapriye' (Nattai) of Puliyur Duraiswami Iyer. Kalpanaswaras were at the pallavi. Dikshitar's ‘Annapurne' (Sama) was also neatly rendered. Ashok Ramani concluded his recital with ‘Maname Kanamum' and ‘Karpagame' (Sivan) and a tillana.

K. Saketharaman is a young vidwan who has fully utilised his natural gift, well groomed by a great guru Lalgudi Jayaraman. He has a good, sharp voice and total control over sruti and laya. His Shanmukhapriya was the very definition for the mysterious, yet enchanting raga. The alapana was expansive in quantity and quality, yet bereft of repetition.

H.K. Venkatram on the violin offered a rich delineation. The kriti chosen was ‘Marivere Dikkevarayya' of the brilliant composer Patnam Subramania Iyer, who was himself a leading musician and a distinguished pupil of Manambuchavadi Venkatasubba Iyer, a scion and disciple of Tyagaraja. (Incidentally, Maha Vaidyanatha Iyer, Sarabha Sastrigal and fiddle Venkoba Rao were also the disciples of Venkatasubba Iyer.) Niraval and swaraprastaras at the usual ‘Sannuthanga Sri' were lively and delightful.

The thani offered by the unequalled Neyveli Skandasubramaniam (mridangam) and the new entrant Alathur Rajaganesh (ganjira) was a rhythmic luxury. The latter is the grandson of Alathur Subba Iyer.

After the liberal exposition of Shanmukhapriya, Saketharaman chose the Ahiri kriti of the Saint, ‘Sompaina,' in misra chapu. And then he took up the Ranjani RTP. If the ragam and thanam were a veritable delight to the ears, the pallavi, ‘Balakrishnam Vasudevam Chinthayeham Santhatham Deenabandhum' in Chathusrajathi Triputai Khanda Nadai, eduppu at atheetham was a connoisseur's delicacy. The melodious swaraprastara had a ragamalika part as well including an enjoyable Dhanyasi and a lilting Brindavanasaranga.

He commenced his concert with the immortal Thodi varnam, ‘Era Napai' and Tyagaraja's ‘Sogasukha Mridanga Talamu.' His elucidation of Kumudakriya was refreshing and the rendering of Dikshitar's ‘Ardhanareeswaram,' simply superb.

Kalpanaswaras were at ‘Aagamadi Sannutham.' ‘Paramukhamelara' in Surutti reminded one of GNB. Saketharaman concluded his dazzling recital with ‘Ayye Meththakkadinam,' a tillana, and Papanasam Sivan's ‘Karpagame.'

(ramakrishnan.h@gmail.com)

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