BRAHMA GANA SABHA
Interesting permutations and combinations
SULOCHANA PATTABHIRAMAN
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Sudha Ragunathan's alapana and the cohesively sequenced swaras did whet one's aural appetite.
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Sudha Ragunathan.
Sudha Ragunathan's kutcheri that began with `Era Naapai,' Patnam Subramania Iyer's varnam in Todi and `Saranu Siddhi Vinayaka' in Sourashtram, sung with fervour, were the right choices to start the musical ignition. The swaras for `Sivakama Sundari' in Jaganmohini with interesting permutations and combinations were rendered with easy, natural skills.
Mohanakalyani is a very attractive melody, perhaps raising a couple of Pundit eyebrows, but moving the average listener's consciousness to considerably appreciable levels. Sudha's alapana was a cascade of mellifluous music, the sparkling song version of Harikesanallur Muthiah Bhagavatar's `Bhuvaneswariya' and the swaras, cohesively sequenced, were all endowed with artistic excellence that did whet one's aural appetite. Syama Sastri's `Meenalochana' was a peach of an interpretation with the kriti's inherent bhava of Dhanyasi and the emotions in the sahitya blending into a praiseworthy symbiosis.
The neraval in two kalapramanams and the swaras were savoured with commendable grip, taking a firm hold on one's attention quotient.
M.R. Gopinath, a violinist who has established himself in no uncertain terms, claims justified appreciation for his Mohanakalyani exposition, and the neraval and swaras for the Dhanyasi kriti. The Keeravani elaboration was comprehensive, embellished with many karvais, slow rakthi prayogas, brighas with the fleet footedness of a gazelle, a brief sruti bedha excursion and spicy flourishes, et al. The violinist's conventional description was well nurtured and nourished.
Tyagaraja's `Kaligiyunte' that set a monumental platform for lyrical expansion, the passages of lively swaras that had an orderly progress and the panchama kuraippu finishing with a striking korvai revealed the dimensions of the singer's artistic capabilities. Satish Kumar, on the mridangam and Raman on the morsing presented the percussion duet that had a plethora of rhythmic inputs of imaginative phrases and variegated nadai statements.
`Thaye Yashoda' as a ragamalika, `Ragi Thandheero' and `Kurai Onrumillai' put the seal on this heart-warming programme by Sudha, who, as the dictum goes, works on three levels all the time, melody, thought and awareness of the audience.
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