A captivating blend

Drawn in Consummate professionalism

Drawn in Consummate professionalism   | Photo Credit: Photo: V. Sreenivasa Murthy

The M.A. Narasimhachar Music Festival offered a rich musical experience

Pattabhirama Pandit’s vocal recital on Friday at the Bangalore Gayana Samaja was part of the seventh Annual music festival of the M.A. Narasimhachar Music Foundation. He was accompanied by H.K.Venkatram (violin), Umayalpuram K. Sivaraman (mridanga) and Giridhar Udupa (ghata).

“Ninnukori”, the adi tala varna in Mohana and “Siddhivinayakam” in Shanmukhapriya revealed a robust voice and a vigorous style permeated with classicism, as did the brief alapana of Athana, the Thyagaraja krithi “Balakanakamaya”, and the neraval and kalpana swaras at “Rara Devadi”. “Varanarada” in Vijayasree was succeeded by a fairly detailed and impressive alapana of Yadukula Kamboji that encompassed subtle inflections and gamakas, unique to its melodic identity. “Hecharikagarara” rendered with a neraval and kalpana swaras, acquired an unusual flavour from the slow tempo. The first segment of the mellifluous alapana of Kharaharapriya focused more on the tara sthayi, descending gradually to a stint around the dhaivatha, and further down, before concluding at the thara shadja. The grandeur of the Thyagaraja krithi ‘Ramaneeyeda’ in adi tala was reinforced with an introspective neraval at ‘Thanasoukhyamu’ that was a blend of sound technique and emotional intensity, reflected admirably in the violin accompaniment of H.K.Venkatram as well. Mridanga maestro Umayalpuram Sivaraman, enchanted the audience with percussion wizardry throughout the concert, ably supported by Giridhar Udupa on the ghata.

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On the second day, there was a vocal duet by Ranjani and Gayathri on Saturday, accompanied by Charulatha Ramanujam (violin), Manoj Siva (mridanga) and M.A.Krishnamurthy (ghata). The concert began with the Sree raga varna in Adi tala, “Samininne”. The Thyagaraja krithi in Karnataka Behag, “Nenendu” which followed, conveyed the -Madhavi Ramkumar

supplicatory tone of the lyrics effectively. “Enumadidarenu” in Hindola was succeeded by a melodious and meticulous alapana of Bilahari and “Intha Kannanandamemi” in rupaka tala, with neraval at “Nee Japamulavela”, and brief, but lively spurts of kalpana swaras in the second speed. The Shyama Shastri krithi in Chinthamani, “Devi Brovasamayamithe” was prelude to a detailed alapana of Todi and “Emi Jesithe” in mishra chapu tala, suffixed with elaborate kalpana swaras and a vibrant tani avarthana.

A brisk “Marakathalingam” in Vasantha led to the raga thana pallavi in Dharmavathi, which mitigated the lack of a neraval in the Todi ensemble. An exhaustive alapana with occasional flashes of the Hindustani idiom, and a substantial thana incorporating phrases in a variety of combinations with violin accompaniment cast in the same mould, were followed by the pallavi beginning “Palinchu Bangaru Kamakshi” set to khanda jathi triputa tala. The concluding items were the perennial favourites “Eppadi Padinaro”, “Krishna Nee Begane Baro” rendered in predominantly Hindustani style, and a Marathi abhang. The concert was a display of consummate professionalism combined formidable technical prowess and a keen aesthetic sensibility.


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