Friday Review
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With distinct individual style
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Trichur Ramachandran and Charumathi show innovation within orthodoxy.
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More a duet than jugalbandi.
Sadinchane
Trichur Ramachandran and Charumathi Ramachandran
Carnatic Classical - Rs. 120
Although they are followers of the GNB bhani, Trichur Ramachandran and Charumathi Ramachandran have developed their individual styles with distinction. The programme is more a duet than a jugalbandhi as is mentioned in the cover.
Beginning with Purandara Dasa’s ‘Jaya Jaya’ in Nattai with swaras, a kuraippu in the Panchamam culminating in a rhythmic sequence is well worth listening time.
The Pancharatna kritis of Tyagaraja enjoy a monumental stature. The pair has articulated ‘Sadinchene’ with clarity and sensibility.
The sloka ‘Vandematharam’ in Hindolam has a firm grip on the connoisseur’s psyche. The raga response by Parur M.S.Anantharaman transcends the morbidity of mere playing technique.
Imaginative and innovative
G.N.Balasubramanian’s ‘Sama Gana Lole’ embellished with imaginative kalpanaswara and the delineation of raga Karnataka Devagandhari at length by both musicians in the various octaves, are innovative within a basic orthodoxy. Abheri sports a suddhadhaivatam according to the kritis composed by Dikshitar (‘Veenabheri’), Syama Sastri (‘Ninnu Vina Marigalada’) Papanasam Sivan (‘Kanda Vandarul’). ‘Kayarohaneswaram’ and ‘Panchasatpeetha,’ Dikshitar’s songs with a chatusruti dhaivatam are in Devagandaram, but has the same arohana and avarohana format as Karnataka Devagandhari, as also Suddhananda Bharatiar’s “Eppadi Padinaro.” One feels it would be more precise for the melody that has the chatursruti dhaivatam to be given the nomenclature Karnataka Devagandhari.
Mysore Vasudevacharya’s ‘Bhajare Manasa’ is an interpretation rich in aesthetics and lyrical involvement. The swaras are presented with an easy melodic flow. The divisions and subdivisions in the panchamam are meticulously constructed. The Malavi composition, ‘Nenarunchinaanu’ of Tyagaraja, ‘Govardhana Giridhara’ of Narayana Tirtha and ‘Karanam Kettu Vadi’ of Suddhananda Bharati, (mentioned as a Sivan creation in the inlay card), are eloquent expressions of mellifluent music.
S.P.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
