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A healthy trend
S. SIVAKUMAR
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Pattabhiram Pandit, Suryaprakash and Saketha Raman, in their individual recitals, showed the grip each has over the art.
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Photos: B.Jothi Ramalingam
Seasoned fare: (From left) Pattabhiram Pandit, Saketha Raman and Suryaprakash.
There has been in recent times a healthy proliferation of youngsters — fine performers — who have taken to music with seriousness. They are under the tutelage of seasoned gurus. Will these men and women blossom into musicians of stature
by aiming and attaining a level of perfection?
Will they become historical patterns like an Ariyakudi, MLV, Semmangudi or a GNB, - to cite a few? That will depend on how steadfast they are, their conviction and their resistance to the lure of stardom of a different kind. These thoughts flitted through one’s mind as one listened to the individual performances of three such youngsters at the Sadguru Thyagaraja Swamigal Music Festival, organised by Sri Parthasarathi Swami Sabha, and held at the MFAC hall.
Effective renditions
Pattabhiram Pandit (less familiar in Chennai), Suryaprakash and Saketha Raman (both homespun material) gave concerts of 45 minutes, exemplifying the effective grip each one has over the art.
Pattabhiram has inculcated in himself the fine art of neraval rendering and his singing of the line, “Veda Sasthra Purana” (‘Ninne Nera Namminanu’ — Panthuvarali) and “Bhakthileni Kavi” (‘Dasarathe’ —Thodi) was abundant proof of this acquirement.
His other selections were ‘Marubalga’ in Sri Ranjani, ‘Hecharikagagarara’ in Yadukula Khambodi and ‘Manavyalakinchara’ in Nalinakanti.
Suryaprakash’s alapana for Mohanam was filled with phrases driven by his natural impetus for raga vistharam and ‘Mohana Rama’ began with a delectable sangathi — an act of applying thought notwithstanding the performance-pressures that exist while on stage. His swara singing especially for ‘Sarasa Sama Dhana’ spoke of his mastery of a particular style that was repeatedly on play.
His other songs were ‘Maa Janaki,’ (Khambodhi), ‘Ennalu Oorage’ (Shuba Panthuvarali) and ‘Meevalla Guna Dhoshamemi’ (Kapi).
Growing repute
Saketha Raman began with ‘Nenarunchara’ (Simhavahini) and his Arabhi (‘Nadha Sudharasam’) and Bhairavi (‘Nee Vanti Deivamu’) alapanas showed that he has evolved as a singer of growing repute over the years by considerable effort.
His other song was ‘Challare’ (Ahiri).
M.A.Sundareswaran on the violin maintained his place as a senior vidwan and accompanied with a sense of deep commitment and understanding. Mridangam legend Umayalpuram Sivaraman was his genial self, truly restricting himself, and along with Sri Sundrakumar (ganjira) took the youngsters on their course. The laya vidwans provided a brief thani that was bounteous in sollus.
The event ended fittingly with the singing of ‘Geetharthamu’ and ‘Mangalam’ rendered in chorus by the three singers.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
