A musical synergy
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Balachandra Nakod's performance was energetic
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BALANCED He worked within a systematic framework
Balachandra Nakod sings with a virile voice, in a style that is energetic, with progressions well balanced, incorporating all the musical elements required to establish a firm hold over the audience of different understandings and outlook.
He was singing under the
auspices of Swarasankula
Sangeetha Sabha at Vasudevacharya
Bhavana. Veerabhadraiah
Hiremath
(harmonium) and Raghavendra
Nakod (tabla) accompanied
him as appropriate
saathis, armed with experience
and imagination equating
with those of the senior
singer.
Nevertheless, a certain
amount of pronounced soft
vocal inflections would have
rendered the developments
melting and soporific, as was
observed in "Aaj Jaage Mere"
sung in Rajeshwari. Setting
aside the deficiencies one
may consider remarkable
abilities and merits, riyaz had
fetched him and sadhana has
fine-tuned his intuitive expressions.
His improvisations evolve
within a systematic framework,
and the badath is characterised
by artistically and
imaginatively juxtaposed
moods, relevant with both
the rag and the cheez.
In this respect, consider
Durga ("Raskanre") and Miyamalhar
("Bolere Papiyara"-
Sadarang). He would interpret
the phrases in conformity
with the lyrical import, and
develop the khyal with composure
and competence, be it
a stage of sthayi or antara.
What more one can expect
than smooth glides to nurture
the majesty of Durga and the
characteristic andolit movements
to evoke the sentiments
of Miyamalhar. The
artiste successfully materialised
the task, and in this process
sargams (at time sargam
taans), bolupajs and taans,
enhanced the appeal of developments.
Even the sams or the tihayis
complemented the emotive
aspects rather than turning
out to be mere technical
flashes.
Nevertheless, on considering
the nature of the taans, it
was observed that the basic
pattern seemed much alike;
and the vivacity and pattern of
reaching the climax too remained
similar. As most of this
section comprised vidyut
taans, there appeared a
dearth of taans of other dimensions.
Other inclusions were a
Kannada abhang ("Panduranga
Pandarinatha"), Vachana
("Antharangadalli" -
Basavanna) and "Bolenayi
Bole" (Bhairavi).
V. NAGARAJ
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