Music is more than skilled voice manipulation. Tonal thrust robs it of aesthetic demands. The expository technique of S. Kasturi Rangan in his recital for Sri Thyaga Brahma Gana Sabha was replete with such a tendency. It was a performance in which the range and speed of the voice were demonstratively given emphasis though with a more sober approach he could have achieved what his relentless drive aimed at.
Kasturi Rangan was talent conscious and his musical equipment and foundation were strong that could have been harnessed to equanimity rather than restless animation. His manodharma in alapana was convincing presentation of brilliance with scorching pace and ostentation.
Imposing Khambodi
Kasturi Rangan’s Khambodi vistara was imposing. The bravura sancharas revealed an uncanny insight into the core of the raga marked by versatility and overwhelming vidwat clubbed with temptation to display. His interpretative method, in the songs ‘O! Rangasaayee’ and ‘Sri Kantimatim’ (Hemavathy), ‘Entaveduko’ (Saraswati Manohari), was impressive with glittering gift.
Framing a concert calls for striking a balance between pleasing the rasikas and stand committed to the sensitivity of musical expression. Kasturi Rangan has all the qualities to strengthen a performance but has to shift the mind to easy grace. Aesthetic aspects can still stir and inspire the vibrancy of his tonal skill. The sheer effort he puts into his singing style has to be acknowledged.
If Kasturi Rangan packed pressure the violin accompanist, Nagai Sriram, seemed to say that he was not a whit behind the vocalist in this genre. He fits into the glitzy concert pattern in his solo versions of Khambodi and Hemavati.
In the team Trichur Narendran (mridangam) was a picture of poise and moderation in releasing percussive rhythm meticulously accurate. There was methodical maturity in laya lyricism. K.V. Gopalakrishnan toed Narendran’s lines.
SVK
