Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
Utilitarian approach
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Craft seems to take precedence over art in most concert spaces
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Coordination Synchronising voices and expertise was the hallmark of Bangalore Brothers
The vocal recital by the youthful R. Raghavendra, son of a noted mridangist Srimushnam Raja Rao, at Sri Avani Shringeri Sharada Math, West of Chord Road for Sri Vidyaranya Bharathi Sangeetha Sabha, fulfilled all the cutcheri requirements. He could d
o better if he solidified his classicism. I felt that sadly, the art concept of the cutcheri has given way to the craft of it. Nevertheless, there were moments of thrill and joy in Raghavendra’s singing. It reminded me of a one-day cricket match from the points of view of both the content and execution. We had the opportunity of listening to more than 15 ragas and krithis. Backed by veteran violinist C.N. Chandrasekhar’s seasoned artistry, ever enthusiastic mridangist H.S. Sudheendra’s vibrant mridanga play and G. Omkar’s complementary ghata support, Raghavendra’s music brimmed with Carnatic values and artistry. His laya control was also admirable. The singing of Devamanohari, Ahiri and Malavi ragas were positively dynamic. Even though the speed ruled the middle portion of the concert, thankfully it never harmed the originality of the swara and laya.
Madhyamavathi was selected for a detailed treatment. A couple of hiccups in the taara sthayi, notwithstanding, the singer could capture the essence of the raga. “Paalimchu Kamakshi” in vilambakaala with the attached chittaiswaras was enjoyable. Neraval at “Kaarunya Murthy” followed by trikala and melkaala swaras was rewarding item. Dasas’s “Mosa hodenallo”, “Ee pariya sobagu” stirred the mind. An Ashtapadi by Jayadeva and a Tamil pada added to the efficacy of the concert.
*****
Young flautist V. Vamshidhar and the vocalist duo M. B. Hariharan and S. Ashok were comfortable and performed laudably in their respective concerts at the Ananya auditorium for Dr. Veena Doraswamy Iyengar Memorial Trust and Sri Shankara Math, Shankarapuram. The intrinsic quality of the ragas and krithis created a pleasant experience.
The Shahana varna was a fine selection. Kamavardhini for “Ramanatham” set a lively tempo. “Jaya Jaya Padmanabha”, the very rarely heard Manirangu raga was rendered, glorified with the rendition of Bilahari (“Naa jeevaadhara”) and Kharaharapriya (“Chakkani rajamarga”) ragas flowed like a powerful river with some tasty sancharas. I relished the rendition of another rare raga Suraranjini and Ramnad Srinivasa Iyengar krithi “Raghunatha”. “Nambi kettavarillavo” (Kalyani) was another delight.
*****
Uniformity in musical imagination and style, synchronising voices and expertise greeted me when the emerging vocalist duo – Bangalore Brothers – M. B. Hariharan and S. Ashok presented their duet at Sri Shankara Math, Shankarapura. Ably accompanied by Shiva Subramanyam (violin) and Padmanabhan (mridanga), their singing created a new type of experience to the scattered audience taking shelter from the rain. “Sri Maha Ganapthim” (Nata) accounted for a right opening. The mighty Sri raga krithi (“Sri Kamalambike”) vouched for their hold over bhava, raga and laya.
I was thrilled and delighted to listen to the chaturdasha ragamalika composition “Arabhimaanam” strung in 14 ragas like Arabhi, Anandabhairavi, Kalyani, Hamsadhwani, Saranga, Sama and others. Dasa’s “Bhakti virakthi” (Vasantha) had a refined emotional intensity.
M. SURYA PRASAD
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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