An evening of music
B.R.C. IYENGAR
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Flautist Jayaprada turned in a mature performance.
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TUNE TIME Jayaprada Ramamurthi wields the flute.
Recent performances by the flute artiste Jayaprada Ramamurthi — specially at the 16th Annual Cultural Festival of Sharada Cultural Trust — show that she is a rising star. She has become more mature, markedly unruffled and opulently unperturbed. The most striking aspect is her doing away with at least a good part of mathematical manoeuvrings in Swarakalpana, which is a dispensable parasite. She takes care to see that she doesn't make departures from the modes that have become sacred tradition and yet retains rich substance as well as delectable charm; the structure is also classic. She played just about half a dozen items and each had its dainty content, compression of expression and fertility of phrase. Kamboji varnam was the initial item. A short alapana of Hamsadwani gave place to Raghunayaka with impressive jathis in Swarakalpana. Sri Rama Padama in Amrithavarshini was pleasing. Porvikalyani alapana was liberal. Gnanamosagarada might be a simple song set in tune with a simple thala like rupakam but to get the thrill out of it is ingenuity, Jayaprada did it extremely well. The Rakthi Raga Kapi came out in bright colours and the krithi, Inthasokhyamanine, was filled with sentiment. Varali, chosen from RTP, was judicious and was portrayed with all its fascination. The pallavi, set to khndajathi triputa thalam, was erudite
Sanjay enthralls
Earlier in the programme, Sanjay Subramaniam took centre stage. Sanjay started with Abhogi varnam and the krithi, Sarojanabha in Chakravkam, added cadence to the ongoing concert. The highlight of the concert was the central piece, Thodi, which was sophisticated in the raga content, growing brighter as it progressed with skilful modulation of his voice. It is often felt that this modulation is sometimes carried out in excess. Jesinadella marachithivo was chosen for the raga. The interesting feature in the pallavi was the embellishment of Neraval in different kalams within the thri-kala configuration. T.M. Krishna commenced with Kaanada varnam set to Ata thala Rama ikanannubrovarada was inspiring. The alapana of Lalitha was stunning with creative sangathis and the krithi, hiranmayi of Dikshithar rendered in appropriate speed, was touching. Both Ambika Prasad on the violin and Balaji on the mridangam extended impressive support to the concert.
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