Capturing the flavour of ragas
JAYARAMAN V
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Perumbavur G. Ravindranath's concert was steeped in sampradaya.
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Perumbavur G. Ravindranath is attuned to his listeners. Being both a traditional vocalist and a popular composer of light music helps him project the main flavour of a raga to create an impact on his listeners. He garnishes all major compositions with a vivid group of swaras.
Rasikas at the concert at Kalikotta Palace, Thripunithura, organised by G.N. Swamy Trust, got an opportunity to listen to his concert, which was steeped in sampradaya. The methodology he showed in embellishing `Mahagnapathim' in Natta, composed by Muthuswami Dikshitar, with a flurry of kalpanaswaras, was reflective of his erudition and perception of kutcheri discipline.
Subtle gamakas
Dikshithar's `Sree Varalakshmi Namasthubhiam' in Sree Ragam was resplendent in a leisurely vainika style. The subtle gamakas and delicate sangathis employed by the vocalist added to the lustre of the song. It is said that Tyagaraja had made use of several types of mudras in his compositions and `Naadathanumanisam' in Chitharanjini has the stamp of `Tyagarajapaalam' in it. It was rendered in medium tempo.
`Seethamma Mayamma' (Vasantha set to Roopaka tala), replete with a devotional streak by Tyagaraja, was sung with suitable time measure and both the compositions were supplemented by swaras. After `Padmanabha Paahi' in Hindolam, composed by Swati Tirunal, Ravindranth rendered Reethigowla.
`Meenakshime mudam,' a Dikshitar piece on the shrine at Madurai was decked with niraval and swaras.
S.A Eswara Varma on the violin gave adept accompaniment. Mavelikkara S.R. Raju played the mridangam while Adichanallur Anil Kumar was on the ghatom and Neyyantinkara Krishnan on the mukharsankhu.
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