Mixed musical expressions
WORTHY RENDITION For a serious audience, Rajalakshmi’s concert was impressive
Sunaada Arts Foundation released two books – “My Enjoyment of Music” and “Gift That Is Life” both authored by the veteran art critic K. Raghavendra Rao. Musicologist and historian Dr. V. S. Sampath Kumar Acharya and eminent art critic G. T. Narayana Rao released the books. Simple syntax, fluent style, keen insight and substance related with day to day life are some of the salient features of the books.
Reading Rao’s anecdotic memoirs, in addition to making the reading interesting, prompt for a deep reflection and contemplation. Expressions of vast experience and understanding combined with sense of humour have scholarly punches clad in delicate similes and striking metaphors Nevertheless the reader needs to bear with printing errors in both the books. On the occasion, Hindustani vocalist, Nagaraja Rao Havaldar presented a short vocal concert accompanied by his sons, Omkarnath Havaldar (vocal support), Kedarnath Havaldar (tabla) and Veerabhadriah (harmonium).
He started with the bandhish “Gaave Guni Ganika” (Raskhan).
Appropriate tahlay (basic rhythm) laid a strong foundation for a badhath (progression) in a methodical fashion unfurling the nuances of Puryakalyan.
Maintaining clarity in narrating the text he further beautified it by swift akarthans and bolthans before progressing with the same fervour into dhruth cheez of the same poet “Aaye Sab Brij Gopa Lalati”.
“Samsara Sagara” (vachana - Rageshri), “Haridasara Sanga” (Purandaradasaru- Kalyani) and “Karunanidhe” (Mahipathidasaru – Bhairavi) were the other pieces he sung with emotion and involvement.
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Mysore S. Rajalakshmi’s veena concert, suitably accompanied by H.L. Shivashankara Swami (mridanga) and Shashishankar (ghata) impressed serious audience at Shri Krishna Gana Sabha.
Concentration mingled with involvement supported by intuitive creativity evolved into an artistic whole breathing an air of grandeur and majesty into the compositions (“Pranamamyaham Shri Gowrisutam” – Gaula - Mysoru Vasudevacharya and “Ganamurthe” – Ganamurthi - Shri Thyagaraja).
Besides, Rajalakshmi dispenses with the misrab eliminating the metallic noise and paving way for unhindered employment of different techniques of plucking (meetu): the nada would now emerge with sweetness, purity and glory.
Delicate and in-depth gamakas emerged at all levels. Swarabhava thus created evolved into absorbing ragabhava in progressive increments (“Devadideva” - Sunadavinodini - Mysoru Vasudevacharya).
Further, wherever necessary, the engrossed artiste would wait until the fine resonance and the mood created at any desired swarasthana and swara phrase would gradually fade into a state of melodic silence.
As a consequence the nascent essence of both the raga and the lyrics was fully revealed (“Ramabhirama” – Darbar - Shri Thyagaraja and “Shri Kanthimathim” - Hemavathi – Muthuswami Dikshitar).
Liberal usage of variety of graces, soft strokes harmonising with the lyrical rhythm and mood oriented progression collectively bridged the gap between fine tuned strings and well cultured vocal chords.
This rare merit qualifies her style as belonging to that of gayaki ang.
V. NAGARAJ
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