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HANSADWANI
Traversing octaves with ease
LALITHAA KRISHNAN
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Reflective of her meticulous training, Shakthi Patil’s voice was laced with sweetness.
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Photo:M.Karunakaran
Shakti Patil.
The benign presence of the late founder-secretary of Hamsadhwani, R. Ramachandran (RRC) loomed reassuringly large over the sabha’s 2007-2008 Music Festival, his reflective gaze seeming to scan the distant future for signs of inevitable change a
nd shifting dynamics likely to impact the performing arts so dear to him.
With Hamsadhwani’s secretaries R. Sundar and Gopalan, the dedicated committee members, sponsors, loyal patrons and rasikas uniting in an unspoken pledge to carry the spirit of the festival forward, RRC ’s dream rests in safe hands.
Who better than mridangam virtuoso T.V. Gopalakrishnan, equally at home in the Carnatic and Hindustani idioms, to inaugurate the Hindustani concert series? The senior vidwan’s vibrant presence and words of encouragement urged Shakthi Patil of Dharwar to put her best foot forward in the inaugural recital.
Dharwad style
A disciple of Pandit Arjunsa Nakod and Pandit Sripad Hegde, Shakthi’s music reflected the meticulous training and earthy feel of the Dharwad style.
A voice distinguished by evenness in tone and laced with sweetness, translated the artiste’s slightest wish into impeccable articulation.
A bandish in raag Madhuvanthi (vilambit ek taal) aimed for and achieved quietude, followed by the dhrut teen taal ‘Pavan Purvayi’.
Compelling permutations
Dwelling on the tivra nishadh in the mandra saptak with silky glides to the madhya saptak helped the artiste weave compelling permutations.
Interlinked passages alternately emphasising the madhyam and pancham in conjunction with the piercing intensity of the nishadh conveyed a sense of intense yearning in the evolution of the madhya saptak.
‘Jab Te Piya Aayi’ (madhya lay, rupak taal) defined the clear silhouette of raag Purya Dhanashree.
Pungent wood-smoke drifted over the grounds to settle in heavy coils around the pancham and shadja-varja passages and an incandescent tara saptak shadja, making for a sensory experience unique to the Hamsadhwani ambience. Just when the ubiquitous ‘Payaliya Jhankar’ was being choreographed gracefully with resonant taans, the wafer-thin dividing line between spaces within and without the audience enclosure dissolved in a heavy downpour, the insistent drumming of rain on the roof competing with Jain Painadate’s percussive interludes on the tabla.
Raag Hamsadhwani showcased the vocalist’s effortless traverse of octaves in speedy passages through bol taans that stood out for exuberance and punch.
The lilt of Khamaj summoned folk airs in the bhajan, ‘Mayi Maine,’ and the lure of Bhairavi reeled you in as the voice soared in a celebration of pure melody. Janaki Rajagopalan (harmonium) and Jain Painadate (tabla) displayed great empathy with the vocalist’s intentions, supporting and anticipating with skill and creativity.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
