Symmetry, melody, and innovation
SULOCHANA PATTABHIRAMAN
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PROFOUND IMPACT: S. Sowmya. PHOTO: SHAJU JOHN.
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PERFECT UNISON: Sriram and Anuradha Sriram. PHOTO: R. SHIVAJI RAO
Anuradha Sriram and Sriram Parasuram complement each other both in life and in their vocation, Indian music. Sriram is an enlightened scholar versatile violinist, Hindustani and Carnatic musician and playback artiste. Anuradha, in her own right, is an achiever in several spheres. Their concert for Brahma Gana Sabha with V. V. S. Murari on the violin, K.V. Prasad on the mridangam, Umakanth Puranik on the tabla and Vishwanath Nakod on the harmonium was a repository of symmetry, melody, and innovation.
The Hindustani Jog is similar to the Carnatic Nattai without the Kakali Nishadam. The raga elaboration beginning in the mandra sthayi found Sriram's resonant voice traversing the octaves in various speeds without the least strain or constraint.
Anuradha's raga was a lush expanse, rich in melody and presented attractively . Negotiating the phrases in the high octave, when the modal tonic is `C,' needs a Herculean effort and tremendous confidence.
The singer emerged with flying colours. The swara sequences as is customary in North Indian music, was a trifle overburdened with oscillations. Dikshitar's `Swaminatha Paripalaya' in the Carnatic idiom reflected the contrast in the two styles. `Vidhi Illarkku,' a song by Anayya (Anai and Ayya, siblings and composers who authored songs together), was an emotional rendition. The Sham Kalyan bhajan by Kabirdas was music speaking to the soul. Sriram's explanation of the composition's structural beauty and the meaning of the lyrics was most welcome. His Pooryadhansri elaboration had the sure stamp of artistry. Anuradha's forays in the upper octave were sincere and commendable but if she makes an effort to concentrate more on the middle sthayi, there would be no restriction on, or strain to, the vocal chords. Prasad's laya expertise is poetry in rhythm. The tabla artiste exhibited praiseworthy support to the singers. The playing of the harmonium was quiet, refined and dignified.
Sanjay Subramaniam's music is governed by several components. His depth in the classical idiom, commendable repertoire, confident musical expression and powerful communication are some of the appreciable features. The Poorvikalyani kriti of Gopalakrishna Bharatiar, `Satre Vilagi Irum Pillai,' in which Nandan pleads with Nandi to step aside to get the glorious darshan of Lord Siva, was an emotion-packed interpretation.
The opening prayoga of Andolika a la G. N. Balasubramaniam was a forerunner to the fine musical raga edifice that was structured with mellifluous sancharas with tonal modulation soft and sublime. The elongated karvais in the tara sthayi shadjam conforming to the sruti, and the spate of madhyama kala phrasings made a good impact. However, whenever animated articulation took over, melody wasdistanced.
On the other hand, the prayogas in the higher octave, dotted with sustained prolonged karvais, raised the musical barometer considerably. Violinist T.H. Subramaniam's Sankarabharanam established a special equation with the rasika, brimming as it was with breadth of vision and an acute sense of aesthetics.
Subbarama Dikshitar's `Sankaracharyam' is one of its kind, outstanding in its lyrical, musical and devotional substance. The stirring niraval at `Paramagnanalathalavala' and the kalpanaswaras, considerably influenced by Semmangudi, were music in clear streams.
A small fly in the ointment. It is mandatory that while expanding the lyrics, the sahitya and its bhava emerge with utter clarity.
If the lyrics are substituted with akara prayogas, the entire charm of the genre does a fast disappearing act. Subramaniam's neraval and swara improvisations, marked by fluency and mellifluence, merited prompt appreciation, despite the few minor ifs to hit target in the 4/8 kuraippu.
Vellore Ramabhadran's soft, gentle, supportive sarvalagu accompaniment was all peaches and cream, and the tani avartanam immensely appealing.
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