Moving alapana

LIKE HER parents (Sikkil Sisters) Mala Chandrasekar does not indulge in unnecessary gimmicks or clap-raising sancharas in her flute recitals and this was evidenced in her concert for Hamsadhwani. Her Khamboji alapana covering all the features at all the octaves and rendering of Tyagaraja's immortal sang "O Rangasayi" with neraval and swaras elicited big appreciation from the audience.

Maybe the final round of swaras conformed to popular method of raising a climax with long and short essays. Of course it did raise a cheer. Massive percussion support came from veteran T.K. Murthy who had for campqny his student K. V. Gopalakrishnan. Teenaged Anirudh joined the fray with khanjira. Violinist M. R. Gopinath's support was adequate.

While Khamboji cornered all the interest, Mala's Sahana alapana also was quite moving for Tyagaraja's "Giripai". Syama Sastry's "Shankari Shankuru" (Saveri), "Manasuloni" (Varamu) and "Mamava" (Varali-Dikshitar) conformed to tradition. The tukkuda pieces added verve.

There was a certain breeziness in Mohan Santhanam's concert.

He was accompanied by Ganasundaram (violin) and Balashanker (mridangam). "Kailasanathena" was preluded by an expansive Khamboji alapana.

So was Suddha Dhanyasi for Swati Tirunal's "Samodam Chintayami" (Sanskrit).

The neraval and swaras at "Deenabanduvani", the charanam in Tyagaraja's "Emineramo", found the artiste in peak form and he sang most inspiringly.

His earlier Amritavarshini alapana for Muthiah Bhagavatar's "Sudhamayi" with stylistic swaras at the pallavi proved a good takeoff.

The ragamalika "Sonnadai Seidida Sahasama" and the Revati tillana were pleasing.

With a booming voice S.P. Ramh's idioms and phrases in mandra stayi used to be emphatic and highly emotive. At his concert under the auspices of Hamsadhwani, Ramh preferred to sing in a soft voice and rarely made forays into mandra.

Though the sahitya was rendered with a clear diction Dikshitar's "Vatapiganapatim" (Hamsadhwani) and "Akhilandeswari" (Dwijavanti) did not make much of an impact. After a laboured alapana in Saveri for Syama Satry's "Durusukha" the neraval and swaras at "Paramapavani" impressed a little.

The Todi alapana for Tyagaraja's "Emijesite nemi" and swaras at the anupallavi "Kamamohadasulai... " rightly elicited cheers.

But his all too brief RTP in Purvikalyani was neither here nor there and appeared a formality.

On the whole it was a lacklustre concert.

Ganapatiram's tani avarthanam gave some verve to the concert. M. R. Gopinath was the violinist. — KSR

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