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Picture-perfect line-up of kritis
LALITHAA KRISHNAN
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Homage To Palani Subramania Pillai from Palai C.K.Ramachandran.
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Photo: M. Karunakaran
Dominated by Trinity compositions: Palai C.K. Ramachandran.
Hamsadhwani observed the birth anniversary of mridangam legend Palani Subramania Pillai by inviting the maestro’s disciple K.S.Kalidas and senior vidwan Chingleput Ranganathan to share their reminiscences with rasikas. The speakers dwelt upon t
he maestro’s invaluable contribution in an era of stalwarts, his quiet genius and generosity of spirit towards fellow vidwans.
The tribute was followed by the vocal recital of well-known exponent of the Semmangudi bani, Paalai C.K.Ramachandran, with accompanists Usha Rajagopal on the violin and Madirimangalam Swaminathan (disciple of Poovalur Venkatrama Iyer and representative of the Palani school) on the mridangam. With a picture-perfect line-up of kritis dominated by Trinity compositions, the vocalist opened his account with the Suruti varnam ‘Entho Prema,’ and moved on to Papanasam Sivan’s ‘Gajavadana’ (Sriranjani) with simple, lucid sarvalaghu swaraprasthara rounded off by pat korvais echoed by the violinist. Sure enough, the ubiquitous Swati Tirunal kriti ‘Deva Deva,’ so typically a part of the Semmangudi concert-scape made its timely appearance with the anticipated niraval and elaborate swaras at ‘Jatharoopa’.
Well-knit Bhairavi alapana
Tradition strengthened its hold with Tyagaraja’s ‘Enduku Nirdaya’ (Harikhambodi) and the Syama Sastri magnum opus, the Bhairavi swarajathi ‘Amba Kamakshi.’ The uniting flow of madhyama kala passages at the tara sthayi shadja and rishabha suites contributed to a well-knit Bhairavi alapana.
In turn, Usha Rajagopal forged ahead with a torrent of sancharas highlighted by considerable play on vadi-samvadi permutations and rapid silky smooth passages. After a racy ‘Enthavedukondhu Raghava’ (Saraswathi Manohari, Tyagaraja), a total change of mood swept in with an impassioned Subhapantuvarali exposition. Usha’s delineation glistened with sinuous coils. An emotively charged Muthuswami Dikshitar’s ‘Sree Satyanarayanam’ supported kizhkala and melkala swara matrices.
Madirimangalam Swaminathan’s playing was distinguished by experience and élan, the team comfortably tuned to the same wavelength.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
