BRAHMA GANA SABHA
Driven by enthusiasm
SULOCHANA PATTABHIRAMAN
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A mature musical consciousness was evident as V. Shankaranarayanan sang.
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V. Shankaranarayanan, a disciple of Vaigal Gnanaskandan, gave a creditable performance. Opening with the Saveri Adi tala varnam, the singer moved on to Dikshitar's `Vallabha Naayakasya' with kalpanaswaras in the pallavi that were driven with enthusiasm and elan.
Tyagaraja's `Makelara' in Ravichandrika and the swaras were sung with gay abandon and a sizzling spirit, a la the musician's mentor.
Shanmukhapriya, expanded cohesively with nagaswaram prayogas, panchama varja phrases and a spate of mercurial sancharas in the fast track, denoting the mature, musical consciousness. Anuthama Subramaniam's alapana was a positive essay shaped on an imaginative anvil.
`Ekambresa Nayike' of Dikshitar was a chiselled rendition with the diction and sangatis emerging with clarity. A classic blend of musical instincts and performing skills marked the impressive Kalyani delineation. The essay with glimpses of sruti bedham forays had a persuasive, salutary strain.
The violinist offered a credible response with all the ingredients essential to the raga swaroopa falling in place.
`Pankaja Lochana' in Misra Chapu, a favourite of the Semmangudi tradition, with well-knit neraval and efficient swara passages and suitable support from the violinist and the percussionist Mannarkoil Balaji contributed to focussed rasika attention.
The tani avartanam with flair, fluency and method was an indication that Balaji has got his basics and priorities in order.
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