Stormy swara sessions
G. SWAMINATHAN
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Sankaranarayanan's recital was all sound and fury.
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T.V. Sankaranarayanan Photo: R. Ragu.
Veteran musician T.V. Sankaranarayanan's concert for Bharat Kalachar covered several common ragas but uncommon compositions. The opening Gowla kriti `Gajavadana Karuna Sadana' for instance. Kalyani and Karaharapriya occupied the main slots with `Nambi Kettavar' and `Rama Neeyeda.'
Sankaranarayanan's expressions in alapanas and kriti rendition were more resounding than reposeful. The `baaz' and `fanoos' effect in the swara sessions seem to receive tremendous support from the audience nowadays. TVS obliged it in the neraval and swaras of Kalyani, in his pet `Sarasa Samadana' (Kapi Narayani), and in the main Karaharapriya. The swara swirls nevertheless were almost drowned in the thunderous percussion downpours. `Mohana Muthukumara' in Neethimati and `Mantrabalam Adainthen' in Hamsanadam were two other notable additions.
Tiruvarur Bhaktavatsalam made his presence felt through innumerable patterns of rhythm, apart from the `tani,' with T.V. Vasan on the ghatam. Violinist T.K.V. Ramanujacharyalu was also conspicuous with his soft but definite strokes.
That children are precocious and learn faster was evident in Ramjhi's Isai Mazhalai Vidya Kalyanaraman's vocal concert. Vidya's voice has a clear timbre and she enunciates with equal clarity. She seems to have understood the `bhakti bhava' of Carnatic music — a fact that was clear in her alapana of Sahana (`Kandu Kandu Neeyenna') and Sankarabaranam (`Sarjoa dalanetri'). Fortunately, her swara strings were not unwieldy but compact.
`Aaichiyar Kuravai' from `Silappadikaram' popularised by M.S. Subbulakshmi in ragamalika was one of the catchy pieces of the concert. Though Parur Anathakrishnan on the violin was no less efficient, the show stealers were the two frail youngsters, Bharadwaj on the mridangam and Chandrasekara Sarma on the ghatam.
Lakshmi Rangarajan's concert was filled with confidence and stood out for the planning. The two ragas she chose for elaboration refreshed the rainy afternoon. Malayamaruthum (`Manasa Etulo') and Kalyani (`Ennendru Pugalven Nindan Karunayai' from Ramana Kendra) were properly conceived and neatly structured. While Maruthum provided the breeze, Kalyani came as a perfect energiser. Lakshmi's kalpanaswaras were without excess. Among the rest of the kritis, `Arunachalanatham' in Saranga and the concluding Sivaranjani number on Sivaratri carried pep. Dr. Hemalatha on the violin and B. Ganapathyraman on the mridangam were noticeable without being obtrusive.
Flute maestro N. Ramani plays his instrument with extreme veneration. Begada varnam `Inta Chala' `Sri Mahaganapathim' in Atana, `Teliyaleru Rama' in Denuka, a briefly but beautifully etched Anandabhairavi with `Marivere Gadi' were followed by the detailing of Latangi for `Venkataramana' with supporting kalpanaswarams, a well-rounded Kamabodi and `O Rangasayee' with just swaras at `Bhooloka Vaikuntham.'
Violinist M. Chandarasekaran seemed more of a rasika than an accompanying artiste; his `bale' and `besh' for the main artiste came with spontaneity. Trichur Narendran on the mridanagam, S. Karithick on the ghatam and R. Thyagarajan on the flute provided the necessary props for Ramani.
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