An ideal mixture
P. S. KRISHNAMURTHI
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In her programme, Radha Bhaskar combined leisurely treatment with briskness.
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OFFERED VARIETY: Radha Bhaskar. Photo: V. Ramamurthi.
Radha Bhaskar gave a pleasant programme. It combined briskness with elaboration for leisurely enjoyment, and longer kritis with `tukkadas' to ponder on the profound. It had Sanskrit and Tamil songs for variety.
"Erana Pai" in Todi, followed by "Sarasiruhasanapriye" in Nattai and "Jagadeesvari" in Mohanam provided the leisure with Kandagiri Vijayaraghavan's violin and Mudra Bhaskar's mridangam supplementing the effort.
The Reethigowlai chapter that lasted only 10 minutes demonstrated involvement through detailed development of the moorchanas, both in the alapana and vilambakala rendition of "Enna Punniyam Seideno Sadguru Natha" in misrachapu, with Vijayaraghavan participating.
"Ananda Natam Adinar" in Poorvikalyani prefaced by a melodious (7+4-minute) alapana by voice and violin, also bore the stamp of bhakti.
Keeravani came as the main piece. From the middle octave, Radha passed quickly to the higher. She might have done well to linger more at the bass levels in view of the fact that her voice was beginning to strain.
Vijayaraghavan, not attempting any complicated sancharas, concentrated on melody and succeeded admirably.
"Nee Charanambuja" in Adi, rendered with abandon, instantly made the listener feel emotional.
The feeling lasted even during the fast neraval-sancharas and manodharma swaras, which normally count only for aesthetics and arithmetic. Bhaskar's mridangam stood out during the short tani in which he revealed his skill.
However, while accompanying, there was occasional wistfulness. "Ananda Natam Adinar" offers ample scope for percussive inputs, which was not seized.
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