With so many interesting elements, Raman’s concert would have been an elevating experience with better visualisation
Total control Raman’s fluency over the instrument is remarkable
V. K. Raman’s interesting flute recital at Nadabrahma Sangeetha Sabha made varied impacts providing tenable grounds for observations of contrasting natures relating to different levels of the concert.
His proficiency over the instrument in general, employment of inflecting subtle gamakas and in effecting intricate sancharas with astounding fluency remained unquestionable.
Yet, for considerable part of the concert, the artiste’s approach seemed to have inclined chiefly towards exploring the potentialities of the instrument alone. This was a dominant feature in the first half of the programme.
This, however, was not in favour of creating a congenial atmosphere to build up an uninterrupted flow of mood in order to enjoy neither the essence of the ragas nor the relevance of the lyrics.
For instance, when he started with the exposition of raga Nata and then moved on to the composition “Mahaganapathim” (Muthuswami Dikshithar), he began to insert staccato phrases, which hindered the smooth flow of experience.
The style of presenting raga Ravichandrika and interpreting the text “Niravadhi Sukhada” (Shri Thyagaraja) sounded more like representing hasya rasa, which the raga carries, than bhakthi or majesty or valour impregnated in the text.
Now for the merits: In contrast to the foregoing observations, the ensuing ones lead to an averment that the artiste is capable of being sensitive and responsive to the finer aspects of music as well.
Raman’s sense of shruthi, infallible dexterity in fingering and smooth articulations over the sthayis combined with a monitored flow rendered the rest of the presentations relatively inviting.
“Bagayanayya” (Chandrajyothi-Shri Thyagaraja) had some signs of composure attributable to a comparatively slow tempo and gentle narration. From “Govardhana Girisham” (Hindola- Muthuswami Dikshithar) onwards, the progression went on treading a favourable path.
He delineated Hindola dressing it with fine gamakas. A measured narration of the text made it meaningful, and the swara kalpana amply supported both the raga and the text.
Raga-taana-pallavi in Kalyani projected the artiste’s finer tastes. Alapana featured subtle sancharas artistically moving in and toggling between different sthayis. The necessary pauses facilitated a reposing experience.
He juxtaposed the taanas with percussions backed with due imagination and dexterity preparing the audience for the pallavi – Vinayakam Vigneshwaram. He framed the kalpanaswaras in ragamalika.
Mysore V. Srikankth (violinist) and G.S. Ramanujam (ghata) maintained gentle and pleasing approach. Praveen (mridanga) could have struck a fine balance , rather than superfluously following the leading artiste’s rhythm-oriented accentuations.
By taking into consideration both the gravity and the mood of the ragas and the lyrics, this interesting feat, with due diligence and visualisation, could have been easily transformed into an appealing accomplishment.
V. NAGARAJ
Printer friendly
page Send this article to Friends by
E-Mail
