A rare treat
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Music aficionados were treated to rare compositions at a concert at Chembai Memorial Music College recently.
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Sreyas Narayanun's concert was composed of rare kritis.
THE SUCCESS of a Carnatic concert depends upon the ability of the performer to gauge the pulse of the audience. Unlike a concert at a festival where the audience would comprise people with different aptitudes, a sabha concert generally is filled with connoisseurs and the performer is duty-bound to treat them with rare kritis in time-tested ragas. Sreyas Narayanun alias C.B. Ramanarayanan succeeded in doing that during a concert at Chembai Memorial Music College, under the aegis of Palakkad Fine Arts Society. Trained by M.A. Venugopal and now being trained by P.S. Narayanaswamy, he was well supported by M.A. Sundaresan (violin), Thrissur Narendran (mridangam) and N. Guruprasad (ghatam) in that endeavour.
The opening `Dayanidhe' (in Begada raga and composed by Syama Sastri) is a rarely-heard varnam and was followed by `Pranamamyaham' (Goula-Mysore Vasudevchar). Then he took Kanada for elaboration and sang the Dikshithar piece `Sree Mathrubhootham,' with kalpanaswaras.
Good selection
The next kriti, `Devibrova' (Chinthamani), which was composed by Syama Sastri to suppress the false pride of Bobbili Kesavayya at king Sarabhojis court, was a good choice. This was followed by a well-structured alaapana of Kalyani (`Raam nee vadu konduvo') and Reethigoula (`Cheraravathe'). Both these Thyagaraja kritis are rarely heard at concerts these days and one could decipher the majesty of Semmangudi bani in these kritis. Keeravani was taken for detailed alaapana and was crowned with Papanasam kriti `Karunakarane,' with neraval and swaraprasthara.
Sundaresan's exposition of ragas, especially Reethigoula, in his characteristic Parur bani was amazing. Narendran on the mridangam with his accurate legible rhythmic touches and pauses added grandeur to the concert. With Guruprasad he played an enjoyable thaniavarthanam for Keeravani. Special mention has to be made about Guruprasad who applied the gamakam in the traditional way.
A raagamalika by Ambujam Krishna, `Rangabaro' (in Maund raga and composed by Purandaradasa), `Bhajare Raghuveeram' by Narayanatheertha in a rare raga Deepavali, a Lalgudi Thillana in Khamas and finally a moving Sindhubhairavi (`Guruvum neeye') comprised the last phase.
SANGAMESWARAN A
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