Accent on bhava
T. K. GANAPATHY
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In their recitals, both Maharajapuram Ramachandran and Sanjay Subramaniam laid stress on emotion.
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SUBLIME: Sanjay Subramaniam. Photo: S. Siva Saravanan
In true Maharajapuram tradition, the vibrant saareeram of Maharajapuram Ramachandran made many rasikas recall the glorious and melodious music of his father. The vocal recital at the fifteenth anniversary of Arsha Vidya Gurukulam at Anaikatti near Coimbatore was marked by sruthi suddham and raga bhava.
The accent on the bhava right from the brisk starter — Lambodaram Vignarajam in Hamsadhwani to the end of the recital soaked the listener in harmony. Dikshitar's Subramanyena Rakshithoham (`Suddhadhanyasi') was rendered in chaste style with feeling. `Ganamurthe' in Ganamurthi raga garnished with swaras was tranquil. His raga delineation of Hindolam focused on the formal aspects of melody redolent with appropriate jeeva prayogas for ``Someswaram Bhaja," a Dayananda Saraswathi composition.
The ascent to the crescendo and the descent to the shadjam were full of immaculate raga-oriented patterns leaving the rasikas asking for more at the end of the recital.
Bharathiyar's song in a glistening Mohanakalyani (``Suttum vizhichudar") as the last number was a fitting finale to the concert.
Gopinath's solo exercises on the violin were elegant. Thiruvarur Vaidyanathan's tani abounded with laya refulgence and precise teermanams.
Glorious shades
An inspired artiste's quality of raga delineations, karvais, madhyamakala phrases and a comprehensive feeling of vishranti impress the rasikas easily. One can always expect commendable depth and intellectually stimulating fare in Sanjay Subramaniam's concerts despite his exhibitionist gimmicks. In his vocal recital featured under ``Eppadi Paadinaro" sponsored by Krishna Sweets at the Ramar temple, the cutcheri was fulfilling not only in substance but also in the sublime presentation of a choice selection of songs. His moving rendition of Purandaradas' ``Jaya Jaya Janaki" in Naattai with a flourish of imaginative kalpanaswaras and the following ``Gaanamoorthe" in Gaanamurthi cast a spell on the listeners and won their wide acclaim. Bilahari alapana was developed with appropriate inputs of rakti prayogas for the kriti, Kanukonti.. The raga sketch of Sankarabharanam (the jewel of Sankara) inspired him to exercise his immense creative potential. The more he delved to give shape to the ragaswaroopa with his pulsating voice soaring in higher octaves, the richer the raga became with the nuggets he dug out.
The Veenai Kuppayyar composition, ``Baagu meeragana" was also rendered with the same keyed-up excellence taking the listeners to realms of ecstasy. His agenda included ``Gaanamudhapaanam" (Jothiswaroopini ), ``Brovaparama" (Bahudari ), ``Inta sowkyamu" (Kaapi ) etc.
His RTP in Saveri revealed his ability to stress the subtleties of the raga in the higher reaches. ``Sujanajeeavana" in Khamaas was a charmer towards the end. The fine-tuned artistical abilities of Varadarajan came to the fore as violin accompanist. His portrayal of Sindhubhairavi, Sankarabharanam and Kaapi brimmed with the splendour of the ragas.
The percussive support provided by Neyveli Venkatesh (mridangam) and Udipi Sridhar (ghatam ) fitted with the singing style of the vocalist.
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