Mixed bag
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Mukund’s flute recital captured the inherent emotions of a raga. The sarod-veena presentation was not academic
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MUSIC MAGIC To the joy of rasikas
Uttar-Dakshin was a joint venture by Shri Lalithakala Academy Foundation and Bidaram Krishnappa Ramamandira in Mysore. Vivek Naware’s sarod and Geetha Ramanand’s veena was featured; it was not a jugalbandi though.
With two instruments from two different streams of music, an academic approach would have achieved interesting results. Vivek Naware started with Hamsadhwani – elaborated the raga followed by a bandish. The badath could have been gradually progressive, before reaching the climax. This observation applied to Puryakalyan too. Rajendra Nakod (tabala) accompanied him.
As most of the movements were set to either medium or fast pace, one felt inadequate attention given to vilambit expatiations. Added to this, dominating layakaaris overshadowed the expressions of the lead artiste.
Geetha Ramanand’s consistent and composed approach imparted melody to “Raghunayaka” (Hamsadhvani- Thyagaraja). Likewise, pleasing alapana and appropriate swarakalpana embellished “Gangadhara Tripurahara” (Purvikalyani - Mysore Sadashivarayaru). H.L. Shivashankaraswamy (mridanga) accompanied her.
Ample scope, remained unexplored with respect to both Hindustani and Carnatic styles: introductory stages of the alapana (akshipthika – avachar - chalan), development in the various sthayis (raagavardhini – raagvisthar - sthaayi and so on) and others. The percussionists in a way thrived on their excellence, but in many instances their outstretched enthusiasm dulled the expressions of the main artistes.
Last, but not the least, the punctual rasika is always put through an ordeal of waiting for the concerts to start.
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L.V. Mukund proved himself to be an artiste of high calibre and potential, much of which manifested admirably, commanding warm appreciations. Shrithimanjari Pratishtana, Mysore, had organised his flute concert; Veena Suresh (violin) and H.L. Shivashankaraswamy (mridanga) remarkably complemented Mukund.
Simplicity in presenting the compositions and an unassuming style projected the musical aspects to a degree which ultimately carried the audience to a state of pleasant repose.
As the general layout of the concert was set to a desirable slow-to-medium pace, and as all unnecessary tricky sancharas were kept at bay, every number shone in the spirit the composer had visualised it. A systematic approach to ragalapana for Simhendramadhyama (“Nathajana” - Thyagaraja) and Shankarabharana (“Endukupeddala” - Thyagaraja) gave a clear indication as to the importance given to their inherent moods, which later extended into the respective lyrical sections.
He realised the expectations by melodically translating the texts breathing into them the necessary animating musical elements. Even the “Bhogindrashayinam” (Kunthalavarali - Swathi Tirunal) was not an exception to this pleasing and aesthetic approach. Apt and timely pauses with appropriate nilugades while developing the sangathis played a significant role: so also the swaraprastharas comprising mood-enhancing patterns.
“Vinayaka” (Hamsadhvani - E.V. Ramakrishna Bhagavathar/Veena Kuppayya), “Therathiyakarada” (Goulipanthu - Thyagaraja), “Venkatachala Nilayam” (Sindhu Bhairavi-Purandaradasa) and “Bhaavayami Gopalabalam” (Yamunakalyani-Annamacharya) were other presentations.
V. NAGARAJ
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