Deep and delicate
THE VIOLIN duet of Sriramkumar and Varadarajan for Nada Inbam was pleasingly conceived and cosily presented. Though their style of play was different, it could be seen only in the raga alapanas. Sriramkumar revealed himself as an artiste who has realised the total unity of sangita and sukham combining depth and delicacy. Varadarajan's play sought to glide smoothly over the strings. The raga vinyasas by Varadarajan of Varali ("Azhi Mazhai Kanna") and Kalyani ("Pankaja Lochana") were decorous.
On the other hand, the delineation of Sriranjani ("Sogasuga") by Sriramkumar was a poetic piece with stunning resonances.
Poise, grace, elegance and Carnatic propriety all made up the form and vision of the alapana. The way they rendered the kirtana was a reflection on the sahitya and structural aesthetics.
The Sriranjani raga and song happened to be the diadem of the concert. The violinists were wise in not tampering with the aura of the song with swaras.
All that makes Todi majestic packed in the Syama Sastri's swarajati, "Raave Himagiri Kumari" was interpreted preserving all the solid emotional contours.
The main item was Kambhoji. The alapana was shared by both followed by the kirtana, "Evarimaata". The regular procedure of neraval and swara exchanges was gone through.
Arun Prakash on the mridangam linked his laya patterns — soft and vigorous to suit the occasion — to the true purpose of an accompanist. His tani marked by refinement was beauty in brevity.
Aesthetic
Aesthetic appeal in musical expression has to be appreciated in terms of the repose it confers. In the case of some artistes, vidwat is deified to such a level as to make it appear that music is all grammar with very little poetry. In this connection many musicians confine themselves to the sangita aspect in Sri Tyagaraja's compositions and not to the depth of the sentiments in the sahityas.
At any rate, Sri Tyagaraja's kirtanas to be enjoyed to the full demand sahitya gnana on the part of the performer and listener. It all boils down to the point whether Sri Tyagaraja's kritis are to titillate or tranquilise.
Sanjay Subramaniam's Tyagaraja aradhana performance arranged by Sarvani Sangeetha Sabha was vigour-prone, sumptuousness in content registering his class. His raga thrusts of Mukhari Kalyani ("Bhajana Seyave") and Todi ("Chesinatella") were forcefully penetrating with the specific purpose of proclaiming his stature as a vidwan with a robust bhani.
The rendering of these kirtanas and others — "Vallagaadanaga" (Harikambhoji) also sung in Sankarabharanam "Muripemu" (Mukhari) and "E Vasudha" (Sahana) was overlaid with determined assertiveness. Against Sanjay's mood the violin support by Varadarajan was submissively tame. Arun Prakash (mridangam) took advantage of the vocalist's propensity.
Profound
While basically correct in technique, Manda Sudharani, singing for Carnatica some rare kritis of Saint Tyagaraja presented an image of profundity. There was a blend of free movement and exactitude of the scales of the ragas of Begada, Kalyani and Salaka Bhairavi, the songs being "Gatti Gaa Nanu", "Kaaru Velpulu" and "Padavini" respectively. The rare pieces were "Aananda Sagara" (Garudadwani), "Ennadu Joothuno" (Kalavathy) and "Praarabram Itlundaga" (Swaravali).
Usha Rajagopalan on the violin was an equal match to the vocalist in alapanas and swaras. Trivandrum Balaji (mridangam) gave adequate percussive support. — SVK
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