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Magical saxophone recital
A CARNATIC instrumentalist has full freedom in playing a solo since he can follow the same format that is customary with a vocalist, whereas in Hindustani music, a vocalist has the `Gayaki Ang' and the instrumentalist has to follow the conventional `Thanthrakari Ang.' Musicologists in genearal are of the opinion that Carnatic instrumental solos would have attained a new dimension if the vocal and instrumental patterns were bifurcated as it is the case of North Indian music. At the same time, if it were so, instruments of exotic origin such as the mandolin or the saxophone would not have found a place in the realm of Carnatic music. Today a South Indian instrumentalist can achieve expressiveness by following the same procedure and format employed by a vocalist.
The saxophone came into the limelight in Carnatic music through the genius of Kadri Gopalnath, who successfully grafted the nagaswaram techniques like `thuthukaaram' (use of the tongue), `hukaaram' (the throat), `thannakaaram' (alternation of the above two) in the rendering of compositions and use of the fingers for playing the swaras.
G. Ramanathan, the son of the illustrious T. V. Gopalakrishnan and a disciple of Kadri Gopalnath mesmerised the audience at the Siva Temple, Ernakulam.
The strong musical lineage seemed to have emboldened him to install a new style of his own. It was evident with the famous `Navaragavarnam' (Valachi vachi... ) woven into Kedaram, Sankarabharanam, Kalyani, Begada, Kambhogi, Yadukulakambhoji, Bilahari, Mohanam and Sree ragas byPattanam Subrahmania Iyer. His blowing was so graceful that the composition played seemed to emanate from a human throat. `Vathapi... ' came out in a racy manner with a predominant slant towards the Chembai style of rendering the `krithi' and the `swaras' presented were in consonance with the score of the composition making it very vibrant. `Endaro Mahanubhavulu... ' was absolutely draped in serenity and was in tune with the purport of that krithi, which is homage paid to devotees is as good as homage offered to the Almighty. The young maestro played Tyagaraja's `Manasaa etu...' in Malayamarutham melodiously, with the help of `kalapanaswaras.' Panthuvarali was attired neatly and the `krithi' `Siva Siva Siva... ' was apt for the occasion as it is firmly believed that the utterance of the Lord's name three times in succession is significant. `Soga sugain... ' in Sreeranjini that underlines the importance of the mridangam as a percussion was followed by `Manavinaala..' in Nalinakanthi, which was played in utmost fluency.
Kalyanavasantham is a fascinating raga and through `Naadaloludai... ' the Saint of Thiruvarur proclaims the greatness of `naada.' Ramanathan showed his control over the instrument in probing the soul of that raga from every angle. Abheri was picked as the main raga of the concert with a comprehensive masterly delineation of `Nagumomu... ' He rounded off the programme with the English notes popularised by the late Madurai Mani Iyer.
Ajith Edapally provided competent accompaniment on the violin. Nanjil Arul handled the mridangam with a flurry of `pharans' and `tekhas.' Alappuzha Gopinath played the ghatom with an assurance obtained out of vast experience.
V. JAYARAMAN
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