Changing trends in presentation

GURUGUHANJALI, AN organisation dedicated to the propagation of the compositions of Muthuswami Dikshitar held its ninth annual series and a brochure brought out on the occasion expressed a sense of satisfaction, with the sentiment, ``We reached the landmark of having presented all the 438 compositions of Sri Muthuswamy Dikshitar.

In concerts today consequent on the trend to introduce new kirtanas of contemporary composers, the attention to the Music Trinity is not as much as one would wish. In the past when four and a half hours ruled the concert duration and when musicians drew generously from the Trinity stock, many songs, though repeated often in concerts, had the touch of super polish which held sway over the aesthetic instincts of listeners. Though their repertoire was immense they laid stress on a few kirtanas which, in their opinion, contributed to the excellence of a concert. This paid off in full measure with certain songs being identified with certain vidwans. Concerts thus became memorable. Today the scene has completely changed. The duration is just two hours. In solo alapanas and swaraprastharas in response to the vocalist, the violinist takes away nearly thirty to forty-five minutes. Tani avartanam by the mridangist lasts roughly ten minutes. The vocalist has just one and a quarter hours to draw up his programme. To many musicians today, swara rendering is considered more important than even emotional interpretation of songs.

As for the audience, taste gets refined by often listening the same song and familiarity with a kriti leads to the intensity of listening participation in both the sahitya and melodic clothing. That was the way old concerts established intimate rapport between the artiste and the rasikas.

One thing ought to be remembered. The great vaggeyakaras did not compose their songs for presentation in concerts. Their songs are self- expressions of a longing heart to visualise the divine. It is a tradition with us to go to them for training our minds heavenward. Over the years, the kritis of the Trinity have become just tools of entertainment at the hands of musicians. At present lack of proper training and enough is enough attitude have tarnished even the entertainment angle of concerts.

New and unfamiliar compositions of the Trinity and other composers have no doubt to be preserved and propagated. How? Musicians have to practise the kirtanas over and over again, to get a feel of the musical grandeur before they place them before the rasikas. That youngsters are impelled by such a desire is not in evidence. If so, why is it that no young artiste is identified with any song as Ariyakudi, Semmangudi, GNB and Madurai Mani Iyer enjoyed in music halls in their heyday? Still Guruguhanjali's effort in this direction is worthwhile for someone might get inspired.

The inaugural concert in the Guruguhanjali festival was by R. Vedavalli. She kept a tight bash on the patantara of ``Sri Nathaadi'' (Mayamalavagowla) ``Maanasa Guruguha'' (Ananda Bhairavi) ``Sri Gurunaa'' (Paadi) ``Guruguhaya'' (Sama) ``Guruguhaad Anyam'' (Balahaursa) ``Sri Guruguhasya'' (Poorvi) and ``Guruguha Swamin'' (Bhanumati), a thematic presentation of Guruguha Vithakti kritis. Her objective was not so much to thrill the audience as to pay homage to the music genius of Dikshitar. She was well supported by M.A. Krishnaswami (violin) and Madirimangalam Swaminathan (mridangam).

A mridangist-turned vocalist, Vellore Ramabhadran sang familiar pieces - ``Vatapi Ganapatim'' (Hamsadhwani) ``Ramanatham Bhajeham'' (Kasiramakriya) ``Annapoorne'' (Sama) ``Srikrishnam Bhaja Maanasa'' (Todi) ``Akshayalinga Vibho'' (Sankarabharanam) and ``Sri Venkata Girisam'' (Surati).

The interest of the rasikas was focussed on how well he managed more than how well be embellished the songs and alapanas of Surati, Todi, Sankarabharanam and Kasiramakriya (Pantuvarali). In his alapana attempt, the influence of the many great vocalists he had accompanied in his career was reflected in patches. Vellore Ramabhadran had the ebullient aid of a member of his fraternity, Mannargudi Easwaran, S.D. Sridhar was the violinist who presented a picture of reticence.

Abhishek Raghuraman was allotted the thematic subject of Shiva Para Kritis covering the songs ``Shri Mathrubootham'' (Kannada) ``Ramanatham Bhajeham'' (Kasiramakriya) ``Tyagaraja Yoga Vaibhavam'' (Ananda Bhairavi) and ``Akshayalinga Vibho'' (Sankarabharanam). He rendered them with great flourish and elan. The alapanas of Kasiramkriya, Ananda Bhairavi and Sankarabharanam were painstakingly outlined. He was anxious to bring vidwat to his approach, but ``sowkhyam'', the essential ingredient of music came from the violinist S. Varadarajan, though modest in erudition. T.K. Murthy, the senior mridangist, padded the concert well and played a throbbing tani avartanam.

Suguna Purushothaman dealt with Vamsavali kritis including the compositions of Ambi Dikshitar, Ramaswamy Dikshitar, Chinnaswami Dikshitar and Subbarama Dikshitar. The first raga effort was Yadukula Kambhoji with the song ``Parthasarathim''. She seemed to have been suddenly inspired when she came to the Sahana exposition. She lavished all her musical resources on the song ``Vaashi Vaashi'' and indulged in swaraprastharas with abandon. She had in M. A. Krishnaswami (violin) an understanding accompanist. Thanjavur Kumar (mridangam) was just adequate.

- SVK

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