Edifice built on sadhana
LALITHAA KRISHNAN
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His indomitable spirit touched a chord as Manakkal Rangarajan performed.
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Photo: R. Shivaji Rao.
SPRIGHTLY GAIT: Manakkal Rangarajan.
The Music Club, IIT, presented a vocal recital by Manakkal Rangarajan, accompanied by Padma Rangarajan (vocal support), Parur M.S.Anantharaman (violin) and Manakkal Sriram (mridangam).
It was both touching and heartening to witness the indomitable spirit of the two senior vidwans who gave their all to the performance. Their music testified to a generation and an age in which discipline and sadhana formed a solid foundation — the reason why the artistes are able to keep the flag flying even today.
The sprightly gait of the Tyagaraja kriti, `Niravadhi sukadha,' (Ravichandrika) set a brisk mood right away, as did the kalpanaswara initially following the `odukkal' pattern and later the sarvalaghu. Bilahari breezed in, radiating a warm assurance, quite literally, with the lyric of Koteeswara Iyer's `Ini namakkoru kavalai illai, endrum inbame.'
Firmly established
The first extended raga delineation of the evening came with Mohanakalyani, its identity firmly established through disciplined prayogas. The rarely aired Muthaiah Bhagavathar piece `Sivam vrushabharudam' afforded ample scope for niraval at `Samaveda priyam,' the swaras in two speeds culminating in a korvai that added punch.
A reposeful Dwijavanthi alapana prefaced Muthuswami Dikshitar's `Chetasri,' a composition high on atmosphere. The swaras wound through pathways explored at leisure. A telling contrast came with Tyagaraja's `Anupama gunambudhim' (Atana) which fast-tracked to the main piece in Kharaharapriya. The alapana structure was clearly defined by traditional prayogas followed by Papanasam Sivan's `Saraswati annaiye.'
M.S.Anantharaman's characteristic touches enlivened Bilahari and Mohanakalyani, while the sensitive passages in Dwijavanthi projected a reflective frame of mind.
Manakkal Sriram's mridangam playing was never obtrusive and steered the recital through calm waters.
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