Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
Forceful strokes, firm rhythms
LALITHAA KRISHNAN
|
Instrument The sitar recital by Pt. Rajeev Taranath proclaimed artistry of a high order.
|
Photo: V.GAnesan
Enjoyable rendition: Rajeev Taranath.
The hushed confines of the Museum Theatre complemented by tasteful stage décor in warm russets and earthy reds with touches of crimson proved an apt setting for Prakriti’s Gharana series inaugurated by Pt. Rajeev Taranath’s sarod rec
ital accompanied by Udayaraj Karpur on the tabla.
The diffused glow of the ambient setting spilled over into the commencing piece, illuminating Raag Gauri Manjari, a creation of sarod maestro Ustad Ali Akbar Khan, Pt. Taranath’s guru. The artist explained that this raag is so structured as to incorporate 11 notes, the komal gandhar alone being omitted.
This creates a vast canvas upon which the artist can paint contrasting and complementary textures and actualise continually evolving streams of thought.
Joyous moment
The sonorous movements of the alaap followed by jod and jhala illuminated ever widening vistas in the lower and middle octave that assumed quick-changing hues.
Just when the lilt of a cluster of tivra swaras defined a joyous moment, a rapid changeover to the poignancy underlying a permutation touched by komal swaras was effected.
This juxtaposition and artful interweaving that firmly established the raga’s intrinsic identity amidst constantly shifting shades of other ragas proclaimed artistry of a high order. The gat was in Purya Dhanasree, a related raga, in which pancham-varja phrases and flights of creativity initiated a journey brimming with promise, fulfilled at every bend and turn of winding melodic pathways.
As the pace intensified, the sharp-edged layakari gained an added fillip with alternating chatusra and tisra passages chiselled by forceful strokes that wedded puissance to grace. Sawal-jawab sallies with tabla added interest, Udayaraj Karpur’s firm rhythms rising to the challenge with confidence.
The rich emotive overtones of the second and concluding piece in Misra Kafi wove a multi-hued tapestry with the alternating use of the two gandhars in a ‘p d s r g’ leitmotif.
The sprightly variations in the sawal-jawab quietened to an inward quest that ended in a question delicately poised in the air - yet another testimony to the artist’s sensitive interpretation.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
