Emphatic musical statements
Sishya Parampara series
Carnatic classical vocal
V. Subramaniam (Rs. 125)
Carnatica, in its sishya parampara series, has featured V. Subrahmaniam, one of the senior-most disciples of Semmangudi Srinivasa Iyer. Subrahmaniam in his long career has never ever wavered from the path that his guru had paved, and to his credit he was one who provided immaculate vocal support to Semmangudi in a very large number of the latter's concerts.
This album with excerpts from Subrahmaniam's live concerts has for a spirited starter Tyagaraja's "Gurulekha" in Gowrimanohari, with sharp, precise swaras in the pallavi.
Kalyani elaborated with skill, is a succinct, unfettered, authoritative display that speaks volumes for the musician's pedigree background.
Andavan Pichai is a well-known female composer whose songs are gaining popularity on the concert dais, because of their devotional content and pleasing lyrical substance.
Her composition, "Pahi Pahi Sharade," the neraval for the sequence, "Vandita Pada Yuge" and the swara improvisations in two speeds quite lively yet with no undue exaggerated expression, leave the rasika in a relaxed, comfortable zone.
Not often chosen
Kapinarayani is not a melody that is often chosen for detailed development.
It needs imagination and maturity to expand this raga and Subrahmaniam's delineation though brief, highlights the essential nuances of the scale.
Tyagaraja's "Sarasa Samadhana" has been a winner all the way for decades, and the song version refines and nourishes the heart and mind.
Subrahmanyam's Kharaharapriya with his voice in fine fettle is almost a computer printout of a Semmangudi alapana.
The sancharas around the dhaivata both in the medium and dhurita kalapramanas, and the exercise as a whole has emphatic musical statements rich in the classical idiom.
"Rama Nee Samanamevaru" of Tyagaraja with its lilting array of sangatis in the pallavi, the vivacious lyrical expansion and meticulous sarva lagu swara passages are of salad quality, reflecting the singer's dedication and commitment to his art.
A sloka from Narayana Bhattadri's Narayaneeyam is rendered in Begada, Varali, Mohanam and Behag with Semmangudi's signature manifest in every single phrase of each raga is a stellar presentation.
The programme concluding with "Smaratinumam Sadayam" by Swati Tirunal in Behag, exemplifies class, tradition and dignity.
S.P.
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