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DIFFERENT FEEL Vaidyanathan's concert was a reasonably good effort.

DIFFERENT FEEL Vaidyanathan's concert was a reasonably good effort.  

Vaidyanathan, the son and disciple of his father Balasubramaniam, gave a blissful performance under the aegis of Kalasagaram last week. The concert was different from the normal in the sense that it was in the old style devoid of publicity acrobatics. Basically it was disciplined art, rich in classicism, decorum and devoid of self-hypnotising repetitions, no chicanery and no adulteration. It was however sullied by excessive body language and gesticulations. Also the artiste is too aware of himself and has a sense of overconfidence.

These features were evident in his endeavour to overdo a feature, be it alapana or neraval; in his exertion the imbalance was prejudiced and the programme got out of control. The artiste's voice unfortunately is not that attractive and the sruti component was a little errant.

Komanduri Seshadri, the former principal of the Music College accompanied him on the violin and Vankayala Narasimhalu on the mridangam. Kapa Srinivasa Rao was on the khanjira.

What impressed most were the format of the concert, the selection, the order of succession and the kalapramanam of each item. Vaidyanathan exercised lot of restraint and relaxation (visranthi), which is very essential for a successful performance. Opening up with a brisk ata thala varnam in Kanada he moved on to Paramapurusha in Vasantha. The following item Lekhana in Asaveri was a stimulating choice. The time measure was ideal and necessarily the bhava came out with immense impact.

The alapana of Panthuvarali was reasonably good Sri Ranjani and the krithi, Marubalka was in keeping with tradition. And the swarakalpana was striking. The raga Saveri was a well-planned exercise and the Krithi, Karunaya lokaya was a sensitive rendering. The choice of the raagam, tanam, pallavi was rather late in the programme. The concert was resplendent with ghana ragas. Kalyani was chosen as the next item and the song Ethaunnara of Thyagaraja was perhaps too hard to ruminate. O jagadamba in Anadabhairavi was the right choice thereafter.

Seshadri on the violin was supportive. His style of playing was different in the sense the phrases came off in bits and pieces resulting in the loss of two important components, namely continuity and gamaka. Vankayala Narasimhulu on the mridangam was all-enthusiastic and the jatis and koruvais he contributed were very attractive. The concert was entertaining and educative.

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