Todi expands with delectable phrases
S. SIVAKUMAR
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K. R. Saranathan rendered alapanas, kritis and swaras with full-throated ease.
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QUALITY AFFAIR: G.S. Rajan.
K.R. Saranathan wore his music credentials in style and was self-confidence personified. Alapanas, kritis and swaras were all rendered heartily with full-throated ease. His Latangi ("Venkataramana," Sivan) was as masterly as the Todi alapana with delectable phrases ("Thaye Yasoda," Oothukaadu), showing Ragathelivu. The song itself began at "Thayyale Keladi."
Nirmala Rajasekhar.
It is desirable that custodians of grammar like Saranathan express their versatility and innovative skills by composing a pallavi and avoid rendering the line, "Kalinil Silambu Konja" in Gowlai and Kanada. Madurai Balasubrmaniam provided unstinted support on the violin, and by his playing method identified himself with the MC (M. Chandrasekharan) school. Thiruvidaimarudhur Radhakrishnan (a singer) on the mridangam and G. Ravichandran on the ghatam gave a tani that was eminent and showed prudence. Madurai Mani Iyer's presence was felt when Saranathan rendered "Sarasamukhi" (Gowda Mallaru) and the English Note.
K.R. Saranathan.
Nirmala Rajasekhar's veena recital showed how she has anchored herself to the instrument. She cast a spell using quality and depth. Her Varali ("KaVaVa," Sivan) and Karaharapriya alapanas, and the thanam that followed ("Rama Nee Samanamevaru," Tyagaraja) brought vivid pleasure. In a single stroke, she was able to enjoy and communicate musical feelings. Her speed techniques surfaced during "Niravadhisukadha" (Ravichandrika, Tyagaraja) without any pomp and show. She displayed a keen sense of proportion by including a Devarnama and a Tiruppaavai verse. Nirmala's task became all the more formidable as no support was forthcoming from violinist Venkateswar Rao. She must have wished for a ghatam accompaniment in its place. Manakkal Sriram on the mridangam tempered his playing to suit the needs of the stringed instrument and gave a tani that covered all the fine beats at his command.
G. S. Rajan's flute recital had a synonym, swaanubhava. It had aphoristic alapanas even for the starred piece, "Vasudevayani" (Kalyani, Tyagaraja). Kriti rendering ("Inthakan Anadhamemi," Bilahari, "Entha Nerchina," Sudha Dhanyasi, and "Chinna Nadena," Kalavathy, all by Tyagaraja) had melody as its prime coefficient.
Whether it was correct for Rajan to play on the longer flute throughout the concert is debatable. It has been the view of practitioners of this instrument that Carnatic gamakas and swaras become chaste only when rendered on a normal size flute. Lalgudi Sriganesh (violin) never tried to overshadow the main performer and Tiruvizha Viji S. Anand (mridangam) presented a tani that stood out for its fine laya elements.
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