Artistic excellence
SULOCHANA PATTABHIRAMAN
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Padmavathy Ananthagopalan and Jayanthi Kumaresh presented a veena duet full of aesthetic sensitivity.
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MAJESTIC: Padmavathi Ananthagopalan (right) and Jayanthi Kumaresh. (Below) Tyagarajan (right) and Taranathan. Photos: R. Shivaji Rao and S. R. Raghunathan.
Padmavathi Ananthagopalan and Jayanti Kumaresh presented a veena duet of a high order. Syama Shastri's swarajathi in Yadhukulakambodi is rated as one of the pure, pristine gems in the diadem of Carnatic music.
Dripping with the honeyed essence of this rakti raga, the artistes revealed class in their version, replete with aesthetic sensitivity. The samashti charanam Dikshitar kriti, "Parandamavati" in Dharmavati, had an uninhibited stream of swaras, well nourished in sukha bhava and laya proficiency.
Jayanti excelled in the alapana of Saveri, building the structure with a solid foundation of majestic, melodic prayogas that promptly raced their way to the rasika's heart. "Durusuga" of Syama Shastri has an eclectic content that was showcased with optimum clarity.
Padmavathi's Kalyani was an acme of artistic excellence with lakshana and lakshya completely merged with the rakti of the melody. The tanam with all the strings brought into action was rooted in tradition. The pallavi that followed was set in simple 2-kalai Adi talam with a 4/8 eduppu after the samam. The Anuloma including the tisra nadai was played with ease and confidence. The slow madhyama kala swaras, the korvai at the end, the ragamalika in Valaji, Begada, Amruthavarshini, Abhogi, Nilambari and the concluding swaras in Kalyani were rewarding experiences in melodic and rhythmic cognition.
Arjun Kumar on the mridangam and H. Sivaramakrishnan on the ghatam marshalled their resources effectively in their accompaniment and tani avartanam with sound rhythmic concepts.
The Rudrapatnam brothers — R.N. Tyagarajan and R.N. Taranathan — belonging to an illustrious lineage, sang to the accompaniment of violinist Mysore Srikanth, mridangist H.S. Sudheendra, and ghatam artiste Giridhara Udupa. Atana was developed with the consciousness of the inherent splendour of the raga. Tyagaraja's "Mummurthulai" has a singular stature but is not frequently featured in concerts. The song and neraval swaras had depth of musical awareness.
Tyagarajan's competent alapana of Kalyani was a catholic exposition well within the boundaries of tradition.
Srikanth has a perceptive mind that absorbs the outputs of the singer promptly and translates them spontaneously. His Kalyani with pure, strong bowing, free of scratchy sounds, and mellifluous prayogas that gave luminous insights into the raga, bore the seal of quality.
"Paripathi," embellished with neraval of merit and swaraprastharas sung with grip and fervour, deserves praise. The tidy responses by the violinist were of copybook quality. The Devagandhari kriti "Enneramum" has a languorous elegance and an upsurge of devotional content. The singers' rendition evoked an atmosphere of old world peace. A detailed analysis of Saveri covered the range of the raga in adequate fashion by the singers and the violinist.
The percussion segment was invested with relevant, rhythmic patterns pulsating with energy, and a crowning korvai with a perfect landing. The ragamalika comprised Suddha Saveri, Asaveri and Karnataka Suddha Saveri.
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