Enthralling concert
G.S. PAUL
|
T.M. Krishna and Ranganatha Sharma impressed rasikas with their recitals.
|
T. M. Krishna and Ranganatha Sharma delighted rasikas in Thrissur with their recitals that were organised by Sree Thaygabrahma Sangeetha Sabha.
Impressive performance
Endowed with a resonant voice, Krishna opened with the Thyagaraja composition in Ritigoula, `Cheraravathe.'
As he slipped into another Thyagaraja composition `Nenenthuvedakura,' the only one in raga Karnataka Behag, Krishna's skill in creating a mood of devotion could be experienced. That he could maintain this intrinsic aspect of Carnatic music throughout was perhaps the hallmark of his recital.
Another example of his virtuosity was the essaying of the Dikshitar composition `Paradevatha' in Dhanyasi. He exhibited amazing manodharma in its rendition and a quest for aesthetics appeared to be his forte. Krishna's disposition towards rare ragas came to the fore with Kalgada, the janya of Gayakapriya. He chose Syamasastri's `Parvathy Ninnu' in Roopakam for the rendition.
Saveri raga's essential mood of supplication was created through an exquisite alapana next. Even as it vouched for his creative instincts, the melodic content of the rendition was overpowering.
Only Bhairavi and Kalyani were attempted in the pallavi, as the musician had to race against time due to some exigencies. Trisa jathi tripuda received a fitting avartana by Jayakrishnan (mridangam) and A. S. Sajith (ghatom). Anuroop's violin provided commendable support. Krishna wound up with a tillana in Khamas.
Ranganatha Sharma's recital will be long remembered for the Thyagaraja kriti in Mukhari, `Enthu Ninne Vannim Thunu' and an alluring ragam, tanam, pallavi.
The elaboration of Panthuvarali in the next, brought in innumerable shades of the raga. Kapi, Ranjini, Bindumalini andSindhubhairavi were introduced judiciously, which the audience appreciated.
Technical virtuosity
The selection of khanta jathi tripuda in trisa nada was another exposition of his technical virtuosity.
The execution of this intricate rhythm of 90 beats by G. Chandrasekharan Nair (mridangam) won him a long ovation. C. Rajendran accompanied on the violin and G. Manoharan on the ghatom.
Other kritis included Muthayyabhagavathar's `Gamganapathe' in Hamsadwani and Roopaka talam, Dikshitar's `Madhurambikayaam Sada' in Hemavathy raga and Roopaka talam, Anna Swami Sastri's `Paramapavani' in raga Atana in Adi talam.
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
