Bright and lively
|
Pushpa Kashinath's veena recital was attractive; Trichur Ramachandran kept the audience spellbound
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Veteran Ramachandran Astounding verve
Pushpa Kashinath presented
veena recital at
Ganabharathi, Mysore,
accompanied by
G.S. Ramanujam (mridanga)
and M.R. Manjunath
(ghata).
Throughout the concert,
she maintained uniform
melodic tempo and set a
picture, bright and lively.
Somehow, it was also felt
that most of the passages
denoted premeditated measures,
marginally overshadowing
spontaneity.
Her control over the instrument
left no doubt
about her dedicated practice,
which would not allow
any wrong notes to infiltrate
into the passages, irrespective
of the pace she
selected for her expressions.
Attractively knit
phrases complemented by
fine graces, made her concert
pleasing. In addition,
her control over plucking
rendered it inspiring.
Such merits favourably
influenced compositions
like "Lambodaram Avalambe"
(Kamboji - Mysore
Vasudevacharya), "Shri
Swaminathaya" (Khamach
- Muddusvami Dikshithar)
and "Etijanmamidi" (Varali
- Thyagaraja - an elaborate
alapana preceding the lyrics
not appended with passages
of neraval or swarakalpana,
left a mark of imbalance).
Short to moderately lengthy
alapana-s introduced
these lyrics, and the method
of developing them comprised
attractive passages
appeared to have pre-designed
only to be connected
in different combinations
for glittering impact. Judiciously
employed tribhinna
gamaka-s in
combination with liberal
usage of mandra sancharas
aggrandised the special effects.
Dramatic climaxes featured
raga-tana-pallavi in
Bhairavi ("Kanchi Kamakshi"),
which culminated
in vigorous tani
avarthana by the percussionists.
***
On the second day, Trichur
Ramachandran sang, accompanied
by Mysore
Nagaraj (violin), B. Ravishankar
(mridanga) and S.
Manjunath (ghata).
The veteran, with astounding
verve and the
swiftness kept the audience
spellbound. Nevertheless,
scholarship
overtook melodic experiences.
This was particularly
so when compositions
like "Marivere Dikkevaru
Ramayya" (Latangi-Patnam
Subrahmanya Iyer)
and "Brochevarevarura"
(Khamach-Vasudevacharya)
were considered.
Lyrical import, especially
in Patnam's kriti demands
a tone that is
supplicating; and the raga
Lathangi that embodies
pensive mood warrants a
delicate approach. In the
present instance, the
learned artiste took recourse
in technically establishing
the presentation
than transforming into an
absorbing musical piece.
The pattern of swarakalpana
after an elaborate neraval
at the pallavi did not
conform to the plaintive
mood, and to the contrary,
trod a very different path
of complexity and pyrotechnic.
Though the lyrical
sections of "Brochevarevarura"
stood for the clarity
and expected
sentiments, the swaraprastara
sections followed the
same pattern as the previous
mentioned one. Ragatana
and pallavi mainly in
Todi featured many strains
truly absorbing, particularly
while he was expanding
the raga appending it with
inspiring thana-s, developed
in different stages,
every step closely and meticulously
complemented
by the melody accompanist.
Strangely, the pallavi
section, "Thathadhimitha
dhidhiyani sadhashivudadenu",
almost passed without
leaving significant trail,
a pallavi expatiation expected.
Competence
dawned in the swarakalpana
sections which
passed through Shahana,
Bhowli and Behag, later to
feature an interesting tani
avarthana.
"Teliyaleru Rama" (Dhenuka
- Thyagaraja), "Ranjani
Niranjani" (Ranjani -
GNB), "Radhasametha
Krishna" (Yaman - Anai
Vaidyanatha Iyer) and
"Dharma Shravanavidetake"
(Durga - Purandaradasa)
constituted other
numbers.
V. NAGARAJ
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