Kirtanas of dignity and grace
SVK
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Senior artistes gave credence to the greatness of the pancharatnas by rendering them as goshti ghanam.
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COLLECTIVE HOMAGE: Eminent musicians rendering Pancharatna kritis at the Music Academy. Photo: S. R. Raghunathan.
Slickness of presentation is supreme in the performing process of Ranjani and Gayatri.
The felicitous direction of the voice by Gayatri in the upper regions contributes to the impressiveness of their recitals. These essential ingredients were present in their cutcheri at the Music Academy on Tyagaraja Aradhana day.
In rendering the songs "Teliyaleru Rama" (Dhenuka), "Entarani Thana" (Harikambhoji), "Nannu Vidachi" (Ritigowla) and "Koluvaiyunnade" (Bhairavi), they brought out the dignity and grace in the Tyagaraja kirtanas. Their preference for vigour was evident in their song interpretation. This served the purpose of inducing listener-appreciation.
Ranjani's Ritigowla alapana was a run of sancharas not coming to grips with the subtle niches of the raga. Gayatri's delineation of Chandrajyoti ("Bagaayanayya") was deftly woven around twists and twirls.
Bhairavi vinyasa was shared between the two, Ranjani providing the basics and Gayatri packing a succession of filigree-rich sancharas, high-strung and flashy in sharp precision in tara sthayi. In B. U. Guru Prasad (violin), the sisters had an understanding accompanist. Manoj Siva (mridangam) and Guru Prasad (ghatam), providing convincing percussive support and played a classical tani.
In the morning, the pancharatnas were rendered as goshti ghanam in which many of the present day upcoming artistes were conspicuous by their absence. Seniors to the extent possible gave credence to the greatness of the pancharatnas.
Energetic recital
The veena recital by E. Gayatri under the auspices of D. K. Jayaraman Foundation confirmed her as a symbol of consistent performing excellence. The way she breathes life into alapanas and songs sets her apart as a vainika with musical values. Her intrinsic, energetic presentation and melodic sound manipulation transforms whatever she plays into a glowing edifice of expression. Her prolific manodharma is matched by the smooth flow of her sensitive fingers on the frets, ensuring mellowness.
In this genre were her alapanas of Lohita ("Hiranmayim"), Kambhoji ("Elara Krishna"), Ritigowla ("Nannu Vidachi") and Poorvikalyani with tanam. In the vinyasa of Lalita, Gayatri displayed her command over the instrument and brought to the fore subtle and moving sancharas. Her aim in rendering the kirtanas "Hiranmayim" was to stress its depth.
The main feature of the brief alapana in Ritigowla was the fine and delicate cadences in a soothing tone.
As regards the kirtana, "Nannu Vidachi," Gayatri revealed the specific poignancy and beauty of the composition. Kambhoji was aired in all its grandeur. The concert was not just a list of raga delineation and songs but an enriching musical experience.
Neyveli Skanda Subramaniam (mridangam) and Tiruchi Murali (ghatam) suited their laya idioms and shapes to go well with the tonal purity of the veena of Gayatri.
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