Scholarly and imaginative articulation lent vitality to Shrinivas's vocal renditions
subtle graces T. Shrinivas
T. Shrinivas sang at Ganabharathi, Mysore, accompanied by Thyagarajan (violin), H.L. Shivashankaraswamy (mridanga) and S. Shrinivasan (ghata). Energetic singing, clear accentuations and pronounced stress on the moods ingrained in the lyrics characterised his concert. Scholarly and imaginative articulations add an element of vitality into the presentations, keeping the audience fully attentive and engaged.
Of the 13, (he could have reduced this volley of compositions making provisions for more productive improvisations), two – “Maamava Mridajaaye” (Vasantha-Vasudevacharya) and raga (Kalyani)- taana-p allavi (Sada Ni Paadame) mirrored the merits of the singer.
Whereas, alapana in Vasantha was inspiring and melodious denoting fertile imaginations that in Kalyani was much intricate in sanchara-s mainly depicting his scholarship (included transient shades of Thodi, as result of shrutibedha — of course, for his stature it was not up to the mark, in finesse and magnitude) . The latter one would have been melodious had he (violinist too) kept the articulations simple supported by pleasing subtle graces and tuneful phrases. Swaraprastara in Kalyani lost balance in areas where he resorted to crisscross framing of the swaras.
“Siddhivinayakam” (Mohanakalyani – Muthaiah Bhagavathar – with short pleasing alapana and equally good swarakalpana), “Sakethanagaranatha” (Harikambhoji), “Shri Matribhutam” (Kannada-Dikshithar — with few strains of kalpanaswaras-s), “Manonmani” (Shubhapantuvarali-Muthayya Bhagavathar), Tillana (Chandrakauns) and some more constituted the concert.
Shri Thyagaraja Sangeetha Sabha had arranged a flute recital by the duo, C.A. Sridhar's and C.S. Kalyani. The concert evoked mixed response – almost first half running short of creating significant interest (not because of any demerits but because of lack of lively imaginative progressions). On the contrary, the second half of the concert emerged with exceptional features denoting Sridhar's insight into both lakshana and lakshya branches of the art form. “Karunimpa Idi” (Varna-Shahana-Tiruvottiyur Thyagayya), “Gajavadana” (Hamsadhwani-Purandaradasa), “Angarakam” (Surati- Dikshithar), “Gangadhara Tripurahara” (Purvikalyani-Mysore Sadashivarao) and “Pakkala” (Kharaharapriya-Thyagaraja) were uneventful. Among the above, alapana in Purvikalyani gave indications of gaining momentum; and that in Kharahapriya trailed behind in depth and verve.
Shyamashastri's “Sarojadalanetri” in Shankarabharana conclusively displayed the artistes' comprehensive proficiency.
A systematic alapana drawn in three compartmentalised stages spread over three octaves subjected to different paces ( vilamba kala taking the lead, proportionately interspersed with madhyama and dhruta kaala-s) was an admirable groundwork before they commenced the main composition. A convincingly created majestic mood unique to Shankarabharana drew every attention commanding applauses, deserving approbations from the leaned.
The artistes presented the lyrical sections giving importance to text and its meanings: with such an approach, neraval at the charana, Saamagaanavinodini reached melodic and sentimental climax, and versatile framing of the kalpanaswaras-s (flashing at times passing shades of western music) consummated the experience, with imaginatively reciprocated melodic airs working as refrains.
H.K. Narasimhamurthy's violin support complemented the merits and supplemented where ever deficiencies arose in the natural course of progressions; and the percussionists G.S. Ramanujam (mridanga) and V.S. Ramesh (morsing) were gentle in commensurate with the flautists' predispositions, and at the same time remarkably stable (observe tani avarthana) and versatile in lending rhythm support.
Swathi Tirunal's tillana (Dhanashri) and Purandaradasa's “Bhagyadalakshmi” concluded the concert.
In this column last week, June 17, 2011, Vijayalakshmy Subramaniam was wrongly referred to as Vijayalakshmy Chandrashekar. The error is regretted.
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