A memorable concert
B.R.C. IYENGAR
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A rich manodharama was the hallmark of the concert.
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Ramamurthy
Bani (gharana or style) is the fulcrum on which a musical format stands. However outstanding a performance is, a good Bani or parampara (traditional and established mode) adds colour to a concert although its absence may not be noticeable by a common listener. Bani can be branded and the specific bani carry the accredited of the technique and should not give the impression of mockery. In this sense Ramamurthy, over a period of time has meticulously harnessed the inherited manner and made a style of his values associated with it.
Ramamurthy, who gave a vocal recital under the sponsorship of Kalasagaram last week, hails from the parampara of Ariyakkudi. True, the style should retain the basic values of the parampara. The essence of that style is order and form; brevity, thrill, grace, scholarship and melody combined with a unique repose; bhava and bhakthi mark the quintessence of his presentation. A rich voice, which can precisely play the affluent thoughts of the artist, is an additional asset. He can dramatise musical melodies to rapture with the poetry of spiritualism. He has sufficient ornamental details but never confuses the listener with them. In essence it is an entertainment both to the connoisseur and the common.
On the day Ramamurthy chose select items not necessarily from the customary warehouse of the school but a little out of the way and gave glimpses of his repertoire. A rich manodharama, in respect of alapana, neraval and swaraklalpana was the hallmark of the concert; even more importantly their proportion and meaning. Classic too is the structure, every line is relevant and moves towards that moment in which the action finds its climax and its significance. The varnam in Sahana augured well and conveyed the stateliness. Vidulaku in mayamalavagowla opened up the classical part of the concert and led to the elaborate display of kalyani in all its insignia, vision, depth and perspective. The madhyamakala krithi, niducharana did mask the grandeur of visranthi (relaxation) but that's a part of the game and has to be accepted in the stride. But it was soon compensated by the dignified march of annapurne vishalakshji in sama. As a paradigm, he took up madhyamavati and the alapana accompanied by the famous krithi, ramakathasudha, the associated musical perks, all made the item attractive. The concert ended up with the emotional rendering of chittham eppadio in nadanakriya.
Dinakar who accompanied on the violin was apparently stimulated with equal emotion and freely contributed his own creative ideas. However, in his enthusiasm he tends to be a little overactive and even a little vociferous. The contribution of Arvind on the mridangam has always been a combination of learning and sukha (tranquility), brief, precise and profound, which pleases the most refined ears. He has the courage to choose to do whatever that pleases as happiness. In short, it was a memorable concert.
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