A dulcet veena and vocal recital
B.R.C. IYENGAR
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Three technocrats show their refreshing virtuoso skills.
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It's good that classical music is being taken over from professionals, by the technically qualified, who are genuinely devoted to the art.
WHIZ KID Prasanna Venkataraman shows enormous promise as a vocalist.
The two monsoon concerts of Kalasagaram last week included a vocal performance of Prasanna Venkataraman followed by a veena recital by D. Balakrishna the next day.
L. Ramakrishnan accompanied Prasanna on the violin and S. Arvind on the mridangam. The flattering fact is that all the three are technocrats of high calibre.
In a way it is good that classical music is slowly being taken over from professionals, by the technically qualified, who are genuinely devoted to the art of music rather than the art of making money.
Talented performer
Prasanna is a whiz kid. With sublimity and elegance combined, harmony giving rapture, he has a mind teaming with classical allusion, commanding eloquence that captivate the ear and seize upon the attention of the rasika.
Although it is difficult to fix up the bani, there are clear signs of Sanjay's style creeping into the overall design of Prasanna's music.
At times, he looks taller than Sanjay all because he stands upon his shoulders. One fact emerges clear - to maintain order amid ever threatening chaos of confusion in the field of classicism is a horrendous task. In this endeavour, the team stands out steadfast.
The concert included classic items in proper order and sequence, each outshining the other. A varnam in Darbar, vinayaka stuthi in Kharaharapriya, a navagraha krithi in Edukulakamboji, a samashticharanam in Dharmavathi, vararagalaya in Chenchukamboji led on to the main item in thodi, karunachudavamma. Begada was reserved for RTP set to mishra chapu.
The concert concluded with a couple of lighter items. The highlight was the perfect balance in overall concept, nothing overplayed or nothing wanting. If at all, Prasanna can improve in singing alapana in a relaxed way instead of hurrying, exaggerating the speedy passages.
His swarakalpana exercises are spiced with attractive combinations in even numbers devoid of exhibition and mannerisms.
Thanam is evidently the high-water mark of Prasanna and the ease with which he plays about is amazing. As regards violin accompaniment, though comparatively weak, it is unfair to undervalue the beautiful style, so well discerned in excellent qualities.
Befitting percussion
It was the playing of mridangam, which left the listener awestruck.
First, it was the prominence of sruthi that greatly enhanced the melody; the enormity of Arvind's playing is the projection of sarwalaghu.
It is commonly observed that percussion players end the pallavi or anupallavi with needless extension of thirmanams. Arvind rightly does not believe in this; he enriches them with a mukthayi in the nadai itself. His speckled approached to each krithi has its own distinction. His art not only projects the rhythm but it also speaks music.
Stringed instruments seldom attract as vocal music does, all because it cannot communicate the lyric.
Indeed there are certain established styles that do try to project the sahithya by special technique, but they are not effective enough. It is therefore the system that is more central.
The veena concert by D. Balakrishna on the second day was one of idealist devotion. His father and guru, the renowned vidwan Doraiswamy Iyengar of Karnataka, was the tallest figure of his days in the art and Balakrishna has that prestigious lineage.
The style is a little speedier (madhyama kala) than what an instrument like veena calls for; but he makes it up with adequate vilamba kala whenever required.
The strong point in his favour is his immaculate laya and gritty kalapramana; a confident thoroughness is yet another additional qualifying eminence.
Raga alapana is brief and to the point although not astounding; even so is his effort in swarakaplana. Pranamamyahum in gowla, bhajanaseyave in kedaram and janani ninnuvina in ritigowla were the initial items. Kalyani was sophisticated and the krithi, birnavara in adi thala, thisra nadai associated with a short niraval and intricate swarakalapana demonstrated the scholarship of the artiste.
Natakuranaji was chosen for RTP (ragam, thanam, pallavi) and ended up coupling up with a few other ragas. The pallavi was set to adi thala.
The concert wound up with a thillana. The contribution of the percussion team D.S.R. Murthy on the mridangam and Somayajulu on the ghatam added to the thrill of the concert.
A noteworthy performance, but the talented Balakrishna must guard against some wrong notes (apaswaram) creeping into his performance now and then.
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