Lingering fragrance of Hindolam
LALITHAA KRISHNAN
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Raji Gopalakrishnan offered a winning combination while Master Sathyanarayana played the keyboard, gamakas intact.
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RAJI GOPALAKRISHNAN Photo: V. Ganesan.
The most refreshing aspect of Raji Gopalakrishnan's music is that it is not formula-based. Add to it the fact that her music is devoid of affectation, and you have a winning combination — an artiste who performs with the relaxed confidence that stems from the conviction that she is headed in the right direction. Under her gentle persuasion, the auditorium was redolent with the fragrance of a gently-blossoming Hindolam that lingered long after the last notes had faded away. Tyagaraja's ``Samajavaragamana" featured neraval and smooth-flowing swaras at ``Vedashiro." The Muthuswami Dikshitar composition ``Gitichakra Ratha" in Kannada is not often heard. With its energising chittaswaram, the artiste established its identity.
In Mohanam, the main raga, the artiste's voice, which had been in fine fettle all along, acquired an added sheen, the raga exposition characterised by restraint without inhibition and imagination without exaggeration. The artiste hit the bull's-eye with Tyagaraja's ever-popular ``Mohana Rama" (Adi). The encouraging guru was in evidence when she gave her disciple the opportunity to attempt kalpanaswaras during swaraprasthara.
Pakala Ramadas is a violinist whose propelling force is his spontaneity. He achieved grace and proportion in his alapanas of Hindolam and Mohanam. Rohan Krishnamoorthy (mridangam) and N. Guruprasad (ghatam) distinguished themselves by their spirited accompaniment and tani.
Path-breaking progress in sound technology and sophisticated equipment have made it possible for artistes to play Carnatic music on the keyboard, gamakas intact. K. Sathyanarayana, all of 12 years, presented a keyboard concert with a sizeable and encouraging audience in attendance.
His slight form half-hidden by the bulky instrument, he proved his musical precocity in ``Bagayanayya" (Chandrajyothi) and in the raga sketch preceding it, the notes of this vivadi raga pulsating with energy.
A foot-tapping ``Raghuvamsasudha" in Kadanakuthuhalam followed, its melodic structure tailor-made for the keyboard. A sincere effort was directed towards bringing out the flavour of Saveri. ``Ayye metha kadinam" is not an easy ragamalika to handle as the gamaka execution demands considerable gnanam and fidelity to grammar. Sathyanarayana passed the test with flying colours, with well-rounded gamakas augmenting the old-world melody.
Lalgudi G. Jayaraman's austerely moving tillana in Revathi was rendered without missing a beat. N. Vijay (violin) and Ramanarayanan (mridangam) enthused the young artiste by their considerate playing.
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