Power-driven approach
SVK
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Aesthetics took the backseat with Sanjay Subramaniam while Seshagopalan enchanted.
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ALL FLAIR AND STYLE: T. N. Seshagopalan
When manodharma is fastened to a raga's landscape great music emerges, but in the absence of feelings and emotions of the raga, music becomes barren in nourishment. Though connected very little to niceties through pompous assertiveness, Sanjay Subramaniam's performances cannot be totally ignored for he drapes ragas and songs with a lively veil of respectable presentation.
In the Rama Navami series of concerts at the Asthika Samajam at Alwarpet, Sanjay, at the very outset, struck a power-driven interpretation of the kirtana, `Samaja Vara Gamana' (Hindolam) which was laced to heighten the impact by Karaikudi Mani's percussive thrust. In a similar mood followed the Pantuvarali song, `Ennagaanu Rama Bhajana.'
He handled three raga alapanas — an unconvincing Huseni of 18 carat purity, a Kambhoji vibrant in sancharas and a Kalyani with soaring inspiration, sense of balance and compelling technique all in perfect fusion. In all the three there was magnitude sans aesthetic finesse. There was in Karaikkudi Mani an equal partner of laya eloquence. Amrit was the kanjira artiste. M. A. Krishnaswamy on the violin took extra effort to keep his wing in tune with the concert's mood.
Cultured voice
In a mood of restraint, Seshagopalan's music is full of enchantment of his cultured voice clothing the sancharas of ragas and in rendering the kirtanas. It is then that tonal balance with gana-laya and a range of beautiful interpretation and expression speak of the good aspects of his music. In his cutcheri, his natural flair and style came to full bloom. At the very start, the few sancharas of Kanada followed by the elevating kirtana, `Sukhi Evvaro' laid the foundation for a healthy rhythm. When he rendered `Sukhi Evvaro,' it brimmed with qualities that made it soulful.
The next alapana was Asaveri, which he presented with a deep delicacy of feeling, a shining example of mature music. The not-so-well-known kirtana, `E Paniko' of Tyagaraja was laid before the rasikas with such tenderness as to reveal the sensitive sentiments of the song.
When he came to Hamsanandi (`Needu Mahima Pogada') the itch of vocal exhibitionism got the better of his sense of moderation till then. But mercifully the alapana was fairly brief. As for racing speed he sang `Manavi Che Kunnavayya' (Sarasangi) of Patnam Subramania Iyer and `Kula Birudulanu' (Devamanohari).
RESPECTABLE: Sanjay Subramaniam
Violinist Chandrasekharan's solo versions of Asaveri and Hamsanandi, though brief, created a feeling of sumptuousness. Guruvayoor Dorai (mridangam) let his fingers play with great abandon. A. S. Krishnan (morsing) was literally sidelined to stay behind.
Elaborate alapanas
With a commanding voice and a sound musical foundation, Aiswarya Vidya Raghunath's performance was a cut above the standard of youngsters of her age. Over enthusiastic to impress, pardonable in a youngster at this stage, she built her recital sedulously with elaborate alapanas of Shanmukhapriya (`Mari Vere Dikkevarayya') and Bhairavi (`Koluvai Yunnaade'). More attention to vocal modulation to impart gana-laya and spacing of sancharas in alapanas would greatly enhance the quality of her music. The kirtana session included `Brochevaarevare' (Sriranjani), `Kalyanarama' (Hamsanadam) and `Saranam Saranam' (Asaveri). Aniyampatti Venkatasubramanian (violin) and Sriram (mridangam) were the accompanists.
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