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Good, but in parts

Ranganayaki Sachidanandan's concert for Kalasagaram expressed creativity with a reasonably good impression.

Indian music, Carnatic music in particular, is essentially creative music (Manodharma Sangitham). The three features, alapana, neraval and swarakalpana are the disciplines where this creativity is expressed.

The artiste's skill lies in the imagination that is exercised in these disciplines. In recent years, the relentless rehearsals and regurgitation of what has been so done is transforming creative music to created music (kalpitha sangitham).

Ranganayaki Sachidanandan who gave a vocal concert last week under the aegis of Kalasagaram was no exception in this live out.

The accompanying violinist, Sachidanandan, the husband of the artiste, further sensitised and devalued this facet.

It was plain that both had worked hard and memorised to reproduce these clips, which, in fact, created sheer boredom. The koruvais (calculated mathematical equations) were clearly seen as worked out phrases. If at all, they must at least be seen as extempore.

In a situation like his, the concert loses its hold and turns out to be slothful and doctrinaire.

Good `sruti gnana'

Ranganayaki has a reasonably good voice and her sruti gnana is good; her choice of items for the concert was also judicious but holistically it needed more application than perfunctory reproduction.

Bhairavi varnam in ata thalam started of well and was rendered in thisra nadai, showing the skill of the artiste. Diaskshithar's Ganapathe in Kalyani was a rare item, which caught the attention of the rasika.

The Pancharathna, Sadhinchene in Arabhi was a routine rendering. The alapana of Varali was impressive and the kriti, Eti janmamidi ha was presented with feeling. It was here in particular that the highly rehearsed koruvais in swarakalpana made a mess.

The central piece was Harikamboji, which came off well. The item, Enthrani thanakenthaponi was good.

The ragamalika pallavi chosen for RTP was short of imagination.

It was in combination of two ragas, Ranjani and Sriranjani set to Khandjathi tripurta thalam.

Both the ragas may be bereft of the note panchamam, but the poise was lacking for the simple reason that there was not sufficient contrast between them as also the lack of balance between them.

It would have been better had she combined one more raga with striking contrast and chosen a thala with a more time-consuming nadai like thisram or khandam. The thanam was also average.

Sachidanandan on the violin was routine in his display and the combination sounded a routine practice session. The mridangam accompaniment by Thyagarajan also did not add much thrill.

All in all, the concert was good in parts and left a reasonably good impression. The attendance was also poor because of summer.

B.R.C. IYENGAR

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