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Commendable show
SINGING IN pair is very often a refreshing experience if the duo has practiced together, adopting the same `bhaani' and one vocalist setting a good foil to the other and compensating each other in the areas where they are weak. The late Alathur Brothers, who were brothers by their music alone, had proved this beyond any doubt.
Manu, a student of the RLV College of Music and Fine Arts, Thripunithura and Jayanth, guest-lecturer in Sanskrit at the Music Department of the Maharaja's College, provided entertaining music, without exceeding their limits. The programme was presented at the International Book Fair that concluded recently. The concert was held under the aegis of the Institute for Living Legendary Arts and Music (ILLAM), functioning at Thripunithura with an aim to develop the infinite possibilities of ancient art forms through talented youngsters. The organisation has at its helm distinguished personages like Dr. C. P. Thara, P. Ravi Achan, Mavelikkara Prabhakara Varma, C. N. Karunakaran and Kalamandalam Sugandhi.
It is commendable that the fledgling vocalists began their concert with a varnam. This practice is sidelined even by well-known vocalists knowing well the fact that the varnam is necessary to tide over any vocal impairment and helps to usher in an appropriate atmosphere at the very outset of a vocal recital.
After the varnam `Inthamodi... ' in Saranga by Thiruvotriyur Thyagayyar there came `Mahaganapathim... ' to set in the required pace. Kalyani was clearly outlined with its contours in full flow. Then they sang `Sivakameswarim... ' by Deekshithar, popularised by the late GNB. `Kamalaambaa... ' by the same poet-composer in Anandabhairavi came on with its esoterical characteristics in tact and presenting a major Deekshitar composition requires a certain amount of skill.
Manu depicted a stately Sankarabharanam and the duo sang `Sarojadala netri... ' (Shyama Shastri) with kalpana swaras. `Gopanandana... ' in Bhooshavali (an offspring of Vaachaspathi) has an inbuilt melody, which the pair captured properly. Nagaswaraavali is conceived to be one of the strange ragas designed by Tyagaraja with the composition `Sreepathi... ' that emphasises the need for meditation on the Almighty. Manu and Jayanth, who had their initial training from Chandramana Narayanan Namboothiri, rendered it in a lovely diction.
A reposeful `Tharunee... ' in Dwijaavanthi by Swati had in its wake `Jagadodharana... ' (Kaapi) by Purandaradasa as well as `Jaya Jaya Padmanabhaa... ' by Swati.
Dilip Ramapuram gave a suitable accompaniment on the violin despite the over-amplification and announcements around making it difficult for the listeners to catch the nuances from the bow. Ayimanam Chandrakumar, who handled the mridangam, belongs to the sishyaparampara of Thiruvarur Bhakthavalsalam, and showed a distinct verve in his technique. Rajesh Shoranur (ghatam) and Umesh Sudhakar on the moorsing kept good company.
JAYARAMAN.V
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