High in aesthetics
T. K. GANAPATHY
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It was variety fare for music lovers at Sri Thyagabrahma Gaananjali, Coimbatore, recently.
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Neyveli Santhanagopalan.
Despite the setback in Neyveli Santhanagopalan's saariram a few years back, he has been maintaining his form even without foraying into the tara sthayi in alapanas. Yet, one could find glimpses of his best in his vocal recital at Sri Thyagabrahma Gaananjali, Sullivan Street, Coimbatore.
His deep involvement in the renditions revealed his perception of how Carnatic music is integrated with raga, sruti, laya and sahitya. "Giriraja Sudha" (Bangala) was his sedate opening followed by "Naadhathanumanisam". His gleaming delineation of Poorvikalyani for the kriti, "Gnanamosagaradha" touched the realms of the sublime.
The alapanas of Bhairavi and Suddhasaveri covered many different shades reflective of his manodharma. The raga vinyasam of Kharaharapriya for "Pakkalanilabadi" bore testimony to his disciplined approach.
"Baagayanayya" (Chandrajothi) and "Uyyalloogavayya" (Nilambari) exuded devotion and spiritual fervour. In the solo versions of Poorvikalyani, Bhairavi and Karaharapriya by Balasubramanian (violin), the apparent influence of a senior vidwan in stressing the raga swaroopa in every sanchara was quite evident. Mridangist Srinivasan played soft lilting rhythm. His tani with Suresh on the ghatam featured interesting laya patterns.
Vigorous
Deep involvement and aesthetic structuring characterised Vijay Siva's vocal recital during the festival. Trained under the tutelage of late D. K. Jayaraman, Siva confines himself to the basic discipline and relevance of the aesthetics of Carnatic music. He gave a vigorous presentation of his musical wares. He began with "Theradeeyagkarada" (Gowlipbanthu), which was followed by "Enthaninne," and "Emidova" (Saranga) that revealed his penchant for virtuosity. His crisp presentation of Saveri for "Rama Baanathraana" had rich substance and displayed his tremendous vocal depth in the higher octaves.
The main raga, Sankarabharanam, for "Manasuswadeenamai" showed the artiste's methodical progress in its development with a touch of tenderness raising its aesthetics. His commendable stamina in sustaining vocal eloquence in tarasthayi had great impact on the rasikas. The other felicitous presentations included "Needayache" (Yadukulakhambodi), "Emanivegintu" (Useni) and "Sarievare Sri Janaki".
Vijay Siva.
Vittal Ramamurthi's solo exercises of Saveri and Sankarabharanam on the violin in telling expressions with his soft and mellow bowing were charming. J. Vaidyanathan's (mridangam) distinctive percussive embellishment and his tani with Purushothaman on the kanjira was a culmination of rhythm.
In true Lalgudi tradition
It was a hypnotising harmony of violin music on the final day the festival.
In true Lalgudi tradition, Jayaraman's son Krishnan and daughter Vijayalakshmi blended admirably and laid bare the succulent sweetness of the numbers they played to mesmerise the listeners in their violin duet on the final day. Their unique style of rendition with soft and sweet bowing was in the manner of their family tradition of melody. Perfect synchronisation and coordination was the hallmark of their violin duet.
Krishnan's alapana of Atana with subtle improvisations scaling even strange contours for the song, "Bhajanaseyarada" cast a spell on the listeners. Vijayalakshmi's delineation of Subhapantuvarali enveloped several shades of the raga characterised by ornate, speedy phrases that created a delightfully tranquil ambience in the pandal. Her passion and joy for artistry and technical perfection was manna to the ears. Krishnan's alapana of Khambodi, the main raga for the Lalgudi pancharatna kriti, "Mahitha Pravriddha Srimathi" was flooded with mellifluous phrasings and the player made a feast of it.
Prakash (mridangam) and Gopalakrishnan (kanjira) played an interesting laya-intricate tani culminating in an exciting muthaippu.
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