A convincing concert
B.R.C. IYENGAR
|
The concert had few but select items and a good balance.
|
Sunder Rajan.
The tendency of some of the eminent instrumental musicians switching over to vocal music is out of the ordinary. One such artist to do so in recent times is Delhi Sunder Rajan, a popular violinist.
Earlier, the violinist duo Ranjanai and Gayathri did so. It is possible that they do not want to be sidemen or perhaps the vocalists have an edge over other artistes in a music concert. It may also simply be the desire to stand out in more than one field of art. Sunder Rajan, in his short career has accompanied the leading artists and perhaps has fulfilled his ambition in that sphere of activity.
Changing over from one discipline to another or indulging in many is fraught with some risks since `manodharama' (creativity) in each is different from the other and the influence of one over the other is more often detrimental, however much efforts are made to keep away one from the other; to be equally proficient in more than one is rare. This trait is seen in Sunder Rajan too. Take for instance his alapana part. The sangathis run in short and disconnected fragments hopelessly disparate. The essential element of staying at nyasa swaras and developing the raga bhava (emotion) is busted. This mode may be befitting and acceptable while playing on the instrument, particularly as an accompanist. Add to this the needless speed; the confusion is confounded. This failure is also evident in swarakalpana playing too. All this was evident in Rajan's singing.
Being still young, Rajan's enthusiasm in trying to do too much in too short a time is yet defensible and is sure to restructuring itself with time. Rajan has reasonably good voice and can bring out all the nuances, although he put it to strenuous use in playing speedy passages. In short, the style is devoid of any impressive `bani.'
The concert had few but select items and had a good balance both in choice and exposé. Rajan commenced the concert with the varnam in Natakuranji and went on to Mahaganapathim in Naatai. Teliyaleru rama in Dhenuka was presented with some feeling. The alapana of Sahana was rendered with depth but was rather marred with needlessly chosen fast (briga) sanghathis and less of gamaka. Rajan is quite fluent in playing kalpanaswaras for any raga but the application of this talent to almost every item he sang sounded superfluous. The elaborate expansion of Kalyani was the highlight of the concert and the krithi etha unnara covered a good part of the time. Incidentally it was the only item in which Rajan did some niraval; it was conspicuously missing in the other items.
All in all, the concert was convincing. It should also be easygoing for a seasoned artist like Rajan.
Srinivasa Rao on the violin must be congratulated for his sobriety, the quiet and unassuming approach is something other youngsters should follow, besides the quiet scholarship he unassumingly used. K.R. Ganesh on the mridangam being a calm and abstemious artist as he is, his playing has a unique peace and yet brimming with scholarship. It may sound simple for the common listener, but in depth it is a performance brings tranquillity.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
