In royal style
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Melody, rhythm and confidence vied for prominence in Gurucharan's concert.
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"It started off like Shanmukhapriya," "No, it is Subhapanthuvarali," "I am not sure, be hasn't stressed the nishada yet" were some exchanges among rasikas at the Mylapore Fine Arts Hall on December 24. Until a sharp and emphatic kaisiki nishada emerged at the manthara sthayi, that is. The raga was Bhavapriya, 44th member of the melakarta family, a model of Todi using pratimadhyama instead of suddhamadhyama.
Both in the alapana of Gurucharan and accompanying violinist Nagai Sriram and in their kalpana swaras, sangatis and notes flowed like water down a cataract. For every explicit or subtle nuance in the vocalist's swara, there was a congruous complement in response. Melody, rhythm and confidence vied with one another for prominence. Melakaveri Balaji and Kottayam Radhakrishnan contributed to the enriching experience.
From varnam "Chinta Tamasa Mela" through "Mahaganapate" in Nattai to Tiruppavai "Poomanimalai" in Amirkalyani, the commitment of all four artistes to music stood out. Both the Tyagaraja kriti in Bhavapriya, "Desadi," sung at the deliberate royal pace it demanded, and the brisk Devamanohari number, "Yarukku Tan Teriyum" in Adi were treated without the frills of neraval and kalpanaswaras.
The third kriti to join this rank was Dikshitar's "Hiran Mayeem Lakshmeem Sadaa Bhajami." The auditorium appeared to take on a golden hue as this kriti made its entry with its regal bearing, welcomed in princely style and matching majesty by Gurucharan.
In the main item, "Dinamani Vamsa" in Harikambodi, Adi, the rendition was competent; while the grammar was impeccable, the intense poetry which existed in the earlier numbers was missing. Although alapana was taken up for the first time in the concert, its development missed the heartstrings. The rendition of sahityam, however, made up for the nagging feeling. It was more soulful , empathising with the composer, leaving the listener with a sense of fulfilment through neraval, kalpanaswara and tani avartanam.
P. S. KRISHNAMURTHI
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