Proficient rendition
Agile swaras.
V. Sanjeev, a disciple of A. Kanyakumari, is making impressive inroads in the performing field both as a solo player and a sensitive accompanist. His album for Carnatica begins with G. N. Balasubramaniam's Nattai song, `Kari Mukhavaradha' with agile swara sequences, flawless in execution. The Ranjani kriti of Tyagaraja, `Durmargachara' reflect efficiency and proficiency in presentation.
The brief sketch of Devagandhari and `Ksheera Sagara Sayana' played with sound musical concepts is characteristic of the style of the artiste's mentor. `Panchasatpeeta Rupini' in Devagandharam (nothing similar to Devgandhari - more Karnatakadevagandhari), is a lilting song of Dikshitar and is rendered with a commendable buoyant spirit.
Fulfilling listening
`Kantajudumi' in Vachaspati is a precursor to the main course in Thodi. The raga is an incisive analysis that provides fulfilling listening.
A leisurely kalapramanam, strong bowing and faultless fingering mark the interpretation of Syama Sastri's composition, `Ninne Namminanu.' Niraval is one of the barometers to assess quality, and Sanjeev emerges with praiseworthy colours. The swaras in the madhyama and dhurita tempos and the smooth sarvalaghu prastaras are conducive to establishing a positive rapport with the rasika.
The thani avartanam between the percussion vidwans Poongulam Subramanian (mridangam) and the ever-exuberant Karthick on the ghatam, houses a plethora of rhythmic designs of emphatic quality. Vali's `Koovi Azhaithal' in Valaji beautifully tuned by the late S. Kalyanaraman and a tillana in Darbari Kanada are the lighter pieces that conclude the programme of an artiste with merit, who has the capacity to translate it into performance.
S.P.
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