Clinically speaking, a fine concert
B.R.C IYENGAR
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A medical practitioner by profession, Ranganatha Iyer shows remarkable prowess as a singer.
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The concert attained stature with the very first item
Dr. Ranganatha Iyer in performance
Dr. Ranganatha Iyer's concert last week under the aegis of Kalasagaram is a fine example of honest efforts and classic results in the art of music. Dr. Iyer is a busy medical man who relentlessly practices the art to perfection and has obtained professional standards. Where many musicians carp about lack of time to make progress, Dr. Iyer defies the conviction and believes in finding time amidst busy schedule to make needed progress.
Vast repertoire
Under the circumstances the concert was a pleasant surprise. Hailing from Palghat, he has specialised in the compositions of Thyagaraja, Dikshithar and particularly those of Swathi Thirunal, a specialist in rendering the vilamba kala (slow moving) kritis.
This aspect was rightly projected at the concert. It is noted however that Dr. Iyer finds it hard to participate in regular concerts and hence runs short of concert experience.
His voice too is not honed to the desired degree and perhaps needs more depth. Both in respects of repertoire and rendering, Dr. Iyer is rich. If there are any misgivings in respect of manodharma sangitha it is decidedly due to lack of experience in performance.
The concert attained stature with the very first item, a varnam in panthuvarali. The krithi, deva deva in mayamalavagowla depicted his mastery in Thirunal's compositions.
A rare composition in ataana, sakalakala nine was a surprise item and added glamour. Lathangi was developed in significant detail and was followed by the kriti, matrivredikkevvaru.
Dr. Iyer has an unwitting tendency to lose the kalapramanam occasionally and this was evident in the item under reference. Tliyalerurama in dhenuka was presented with feeling.
Melodic beauty
Dr. Iyer chose shankarabharanam for detailed analysis and the alapana came of well and the kriti, devijagajjanani, a masterpiece of Thirunal was rendered in a classical style.
The kriti has an impressive charana running in madhyamakala, which in contrast with the overall structure of the song and makes it more orthodox and stirring. Dr. Iyer unfortunately missed it. The kriti has attractive inbuilt sangathis which bring out both metrical and melodic beauty.
The anupallavi is the ideal place for neraval and swarakalpana, which Dr. Iyer successfully indulged in. It must, however, be commented that his approach in manodharma sangitha like alapana and swarakalpana need more attractive design if it has to be made more striking and pleasurable. Nevertheless, Dr. Iyer has all the qualities of a professional singer.
Prasad, yet another amateur violinist who accompanied Dr. Iyer, is a popular young artiste who can adequately meet the demands of promising young musicians and his contribution on the day was impressive. Srinivasagopalan on the mridangam put in his expertise to make the concert even more attractive.
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