Tight and free of hyperbole
G. SWAMINATHAN
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Humility and devotion marked the music of B. V. Balasai and A. Durgaprasad.
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ABSOLUTE DEDICATION: Balasai and Durgaprasad. Photo: K. V. Srinivasan.
B.V. Balasai and A. Durgaprasad presented an enjoyable ensemble of instruments of different genres — flute and gottuvadyam. The admirable characteristic of this duet was the absolute abstinence of hyperbole.
The humility in the exposition of raga and kriti, and the tight leash over kalpanaswara exchange marked the artistes' devotion and dedication to music. Pantuvarali and Charukesi alapana were shared by Balasai and Durgaprasad.
Flute sancharas definitely differ from those of gottuvadyam.
The players complemented each other with the speciality of their instruments. Similarly, the spirited Pantuvarali and the kriti `Raghuvara Nannu' (Tyagaraja) with kalpanaswaras at "Manasuna Neeke" were contrasted by the sedate Charukesi in the main with `Kripaya Palaya Sowre'( Swathi Thirunal) with several passages of touching melody. For the brightest patch, there was the rare but rapturous `Entani Vina Vintura' in Oormika set to Adi Talam tisra nadai. R. Ramesh and V. Suresh played dashingly on the mridangam and ghatam during `tani' in misra chapu but deliberately underplayed their roles elsewhere in the concert, elevating the sound of the instruments.
Unnikrishnan's magnetic voice explored some of the uncommon melodious notes. The intertwined melancholic swaras of Subapantuvarali and the majestic Todi puzzled the listener.
Nevertheless, the magical web of a mystic spin was unmistakable. Was it Bhavapriya? The close resemblance was obvious. The mystery unravelled when Unnikrishnan, after his expert elucidation, announced the name of the raga as Bhavani, a derivative of Bhavapriya. He sang the beautifully composed `Bhavapriye Bhavani' with an alluring chittaswaram by his illustrious guru Dr. S. Ramanathan.
Unnikrishnan's Bharat Kalachar recital reaffirmed that the singer with a golden voice can mesmerise the audience with his articulation, be it in plain Sama (`Annapoorne Visalakshi' of Dikshitar), or baffling Bhavani or prolific Kambodi (Ragam-Tanam-Pallavi).
Unnikrishnan ventured into Kambodi in an unhurried pace providing enough time to wait, search and reach for the nuances of the archaic raga.
The tanam too followed in the same vein and Unnikrishnan plunged into the pallavi (Adi talam two kalai) with "Hare Rama Govinda Murare Mukunda Sowre Murahara." Unni's swaras were not a destructive deluge but seductive showers; this was also evident in the earlier Hemavati kriti `Ika Tala Lethura,' another S. Ramanathan composition.
Mannargudi Eswaran and Vaikom Gopalakrishnan demonstrated the art of subtle percussion in the tani avarthanam.
Nagai Sriram on the violin played his part with ripe and right proportions of Sama, Bhavani and particularly Kambodi.
The opening Kedaragowla varnam, a slow and steady `Sogasu Jooda Tharama' in Kannadagowla (Tyagarja) and `Ma Ramanan' and `Naan Oru Vilayattu Bommaya' both by Papanasam Sivan in Hindolam and Navarasakanada came as post-tani pieces.
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