MUSIC ACADEMY
Tryst with melody
SULOCHANA PATTABHI RAMAN
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Karaikkudi Subramaniam's recital was heart-warming and pleasant.
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Photo: S. S. Kumar
MELLIFLUOUS TONES: Karaikkudi Subramaniam.
Veena vidwan Karaikkudi Subramaniam, scion of the proud Karaikkudi tradition, is not only a consummate performer but also a musician and a teacher. Tyagaraja's `Melukovaiyya' in Bowli with sweet, soft oral articulation was a sure tryst with melody. Srirangam was briefly sketched while the kriti by Subbaraya Sastri created an aura of sublime calmness and composure. Dhanyasi with smooth, serene prayogas whetted one's musical senses considerably. The song `Namorala' and the galloping chittaswaram, were effective in terms of claiming attention. Mysore Vasudevachar's `Pranamamyaham' in Ranjini was a fount of mellifluence highlighting the essential charm of the melody.
Kapi Narayani is an immensely appealing raga and Tyagaraja's `Sarasa Samadhana' has a singular flavour that was brought to the fore with considerable panache. Subramaniam's artistic sensibilities were in full flow in the Varali description and the song `Kana Kana Ruchira' despite a few slips here and there, was a fulfilling version. Salagabhairavi, a janya of the 22nd Melakartha Kharaharipriya, found the vidwan marshalling his ideas with care and conveying them in convincing fashion. `Padavini' of Tyagaraja was a thorough bred interpretation. The solfa sequences were assured while the simple korvai reached home without any hassles. Sankarabharanam covered in all the negotiable sthayis with a few uncommon varja prayogas, and detailed tanam with the various strings coming into play, were conducive to sweeping the cobwebs away. The ragamalika tanam in Nata, Gowla, Arabhi, Varali and Sri Ragam was the hallmark of an enviable legacy.
The Pallavi in Misra chapu, the gamaka oriented madhyama kala swaras, the dhurita matrices and the kuraippu in the gandharam with calculations galore steered safely to anchor with a finishing korvai were well conceived Madhirimangalam Swaminathan is a mridangam vidwan who is a much favoured by veena artistes because of his gentle, unobtrusive support, was in good form throughout the programme. His tani avartanam with Sivaramakrishnan on the ghatam pleased the aesthetic ear as well as the mathematical. The Lalgudi Tillana in Khamas is a honeyed delight, and the veena interpretation with laya precision and musical content was heart-warming. The recital was more meetu-oriented, nevertheless very pleasant, rather than gamaka orientation.
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