SRI KRISHNA GANA SABHA
Plan and preparation help
SVK
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Having done her homework, Sangeetha Sivakumar made a great impact. Srinivas's mandolin lacked composure.
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Photos: S.R. Raghunathan and K. V. Srinivasan
DISCIPLINED: Sangeetha Sivakumar.
In the performance of Sangeetha Sivakumar there was organic discipline in the alapana and rendering of kirtanas. It was clear that she had prepared the ragas and songs in every detail. While Sahana was presented with brilliance and clarity, Kalyani was essayed quite elaborately with heavy sancharas. If the depiction of Kalyani was impressive it was because she could capture its essence in flowing lines.
The selection of the songs was enough to suggest what, in her view, constituted the mainstay of a successful concert. The Mayamalavagowla kriti `Merusamana' was rendered in such a way as to bring out its elegant shape. Musical balance was the motivation.
The Sahana song was `Rama-Ikanannu.' There was conviction and patanthara authenticity in her interpretation. Her rendering of the two Dikshitar kritis in succession — `Thyagaraja Yoga Vaibhavam' (Ananda Bhairavi) and `Bhajare Re Chitta' (Kalyani) — was in the nature of a respectful homage to the composer. The first one without raga alapana and swaras created a good impact. The masterly Kalyani kriti was handled with smooth, concise rhythm and commitment to the depth the song calls for.
Gifted with a fine sense of mellowed perception, aesthetic touch, and bowing control the young violin accompanist, Charumathi Raghuraman's lyrical versions of Sahana and Kalyani were delightful.
The sancharas sweetly blended with melody at every flick of her bow. Poise, grace, elegance and propriety marked her musical equipment.
Kallidaikurichi Sivakumar on the mridangam was emphatic without being showy. The tani was brief but to the point of highlighting laya for Misra Chaapu Tala.
U. Srinivas.
The trivikrama instinct to traverse the three octaves was predominant in the recital of Mandolin Srinivas. Whether it was an alapana or swaraprasthara, this characteristic predilection robbed Srinivas's performance of much of its composure. The mark of progress in a musician is how he discovers in his career the tranquilising aspect of Carnatic music.
One satisfaction, however, was the list of good songs. `Devi Brova Samayamide' (Chintamani) was the only kriti that was played without hurry. The others `Palukavemi' (Poornachandrika) `Deva Deva Kalayami' (Mayamalavagowla) `Sanaathana' (Palamanjari) and `Evarimata' (Khambodi) took the brisk tempo path. They are no doubt madhyamakala songs but Srinivas stepped up the kalapramana to impart extra liveliness.
The early phases of the alapana of Mayamalavagowla and Khambodi had a few beguilingly soft sancharas. Their progress turned into a galloping display of fingering profundity. There was excitement in his presentation but very little of the life of the ragas came through.
If raga delineations themselves were of this kind, what could one say of the beat-type swaraprastharas?
S.D.Sridhar, violinist, gave the Carnatic image to the ragas. B. Harikumar (mirdangam) went a step ahead of Srinivas in pounding the instrument.
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