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Restrained idiom
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Prema Rangarajan followed the familiar and classical path.
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Prema Rangarajan
Unhurried raga alapanas and straight rendering of kirtanas without frills marked the expositional base of Prema Rangarajan in her Bahulapanchami Concert under the auspices of Sir Thyagaraja Seva Samithi.
Her aim seemed to be to present her technique in restrained idiom sufficient to satisfy the listeners.
The alapanas of Kalyani (Rama-Nee-Vaadu-Konduvo), Mukhari (Sangeetha-Sastra-Gnanamu) and Thodi (Koluva-Maregada) were precise in essential details. The sancharas were on the well-trodden familiar lines. In so doing her musical motifs were clearly defined. Her Mukhari picture was appealing. But its contours were crisply and pertinently presented by the violinst Anayampatti Venkatasubramaniam. The karvai-sanchara balance came out with a clear image in his solo version. Both delineated the other two ragas with traditional phrases around the moorchanas.
Accuracy of the rendering of kirtanas was Prema’s main task. Her presentation was effective emphasising their structural merit. Music plainly conveyed carried more force than musical oratory.
“Ninne-Bhajana” (Nattai) “E-Vasuda” (Sahana) “Tolijanma” (Bilahari) were the other items that constituted the programme.
Mridangam accompaniment by Trivandrum Balaji was quite subdued, but sufficient to enhance the effort of Prema Rangarajan.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
