MUSIC ACADEMY
Soaked in classicism
SULOCHANA PATTABHIRAMAN
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Seetha Narayanan's recital stood out for aesthetic elegance.
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Photo: N. Sridharan
Seetha Narayanan.
Seetha Narayanan's vocal concert with the instrumental accompaniment of Mullaivasal Chandramouli (violin), Thanjavur Kumar (mridangam) and K.V.Gopalakrishnan (kanjira) unfolded with the Adi tala varnam "Vanajakshi" in Kalyani and an invocatory song on Lord Ganapati in Devamanohari.
Reetigowla was comprehensively elaborated with `gnana bhava,' focussing on the classical charm rather than on the cosmetic veneer.
The violinist crafted a well-designed alapana concentrating on the inherent swarupa of the raga, giving ambiguous expression a firm sweep under the carpet. The beauty of the lyric activates one's sense of appreciation and Seetha's choice of the sequence `Shoba' in Dikshitar's `Sri Neelothpalamba' was appropriate, and the swaras sung with confidence were indicative of the artiste's considerable performing experience.
"Bhavaye Paramagurum" in Hamsanandi with Sanskrit lyrics composed by Meesu Krishnaiyer was a pleasant interlude. Todi was vividly described with perceptive awareness and aesthetic elegance. The violin vidwan had appreciable imagery that was effectively translated into performance. Tyagaraja's "Koluvamara" with noteworthy neraval and swara passages ended with a korvai that was safely anchored at the "eduppu." Thanjavur Kumar and Gopalakrishnan's tani was in the pink of rhythmic health, underlined by sensitive accurate laya patterns and a flawless, finishing sequence.
A Kannada composition by Kanakadasa tuned in Atana was a pleasing precursor to the Ragam, Tanam, Pallavi in Kalyani. The vidushi seemed to travel in the fast lane in her alapana. In contrast, her Tanam began in the Chowka Kalam and proceeded on more sedate lines till the buoyant conclusion. The pallavi set in Khanda Jathi Triputa Talam with competent neraval, tri kalam and swara prasthanas was scholarly presentation.
The ragamalika swaras in Valaji, Saveri Neethimathi and Desh by the main artiste and Chandramouli reflected alert mental activity. The percussionists lent solid support to the whole exercise. The lighter section comprising a Tulsi Bhajan, and a tillana went down well with the rasikas.
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