At ease in both the idioms
LALITHAA KRISHNAN
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Anuradha and Sriram Parasuram handled Carnatic and Hindustani with equal felicity.
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Photos: R. Ragu.
REPOSEFUL: Sriram Parasuram and Anuradha Sriram.
Held in Chennai for the first time, the Gunidas Sangeet Sammelan hosted by the Maharashtra Lalit Kala Nidhi and sponsored by Citi Group, featured two programmes on the same evening. The first was a jugalbandi by Anuradha Sriram and Sriram Parasuram followed by a solo sarod recital of Ustad Amjad Ali Khan.
Being thoroughly conversant with the Carnatic and Hindustani systems, Anuradha and Sriram found themselves on familiar territory, equally at ease in both idioms. Their concert commenced on a firm footing with `Era Naapai,' the varnam that showcases the many-faceted splendour of Thodi. The kalpanaswaras suffix guided by economy, was mood appropriate.
Sriram explained the choice of Maru Behag and Amritavarshini for parallel elaboration, stating that although the two ragas differed slightly in scale, they were similar in spirit. The artiste's Maru Behag alaap was an unhurried excursion, pausing to dwell on a phrase here, a sustained note there. In Anuradha's Amrithavarshini delineation, madhyama kala passages and jarus built a sturdy bridge between prayogas that shot forward on the fast track.
The added lustre that comes with a deeper tone would have been a bonus, but it was not possible due to the high pitch to which however, Anuradha tailored her voice admirably. The violinist, Pakkala Ramadas rendered an excellent account in his solo, the alapana complemented by smooth dips and swells. Sriram's voice had a reposeful quality that came fully into play in the mandra and madhya saptak of the composition, `More Nain Vaa.' The couple's excellent rapport and similar musical values made for the smooth flow of ideas. A noteworthy feature in their rendition of the Muthuswami Dikshitar kriti, `Ananda Amritha' (Amrithavarshini) was the awareness of sahitya bhava, reflected in the deliberate enunciation of `aakarshini.'
Single avartana swaras added bright splashes of colour. Umakant Puranik (harmonium), P. Sathish Kumar (mridangam) and Nitin Mitta (tabla) complemented the main artistes with consummate skill.
Joyous lilt
Ustad Amjad Ali Khan.
In Ustad Amjad Ali Khan's sarod recital, accompanied by Sandeep Das on tabla, an introductory sketch of raag Kamalshree led to a contemplative composition in jhap taal (10 beats). Forceful strokes elicited taut phrases that laid emphasis on a plaintive komal rishabh, while alternating pockets of changing hues encapsulated the light and dark shades of the two madhyams.
The tempo quickened insidiously, making way for a short, powerful spell of stroke-propelled permutations that crested at a grand finale.
Speaking about the importance of compositions and their invaluable role in preserving the form of the raga, the artiste announced that he would be playing his composition in raag Ganesh Kalyan. The melody swayed the listener with its joyous lilt and continued into a taraana enlivened by rhythmic crosscurrents in the tisra gait.
A short alaap in raag Darbari prefaced three compositions set to teen taal, ek taal and teen taal. The intensely spiritual overtones of the raag conveyed a sense of surrender to the Absolute.
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