MUSIC ACADEMY
Full of enthusiasm
SULOCHANA PATTABHIRAMAN
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Rudrapatnam Brothers' Lalitha alapana was spontaneous.
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Photo: S. Thanthoni.
COMMENDABLE ADHERENCE TO SRUTI: Rudrapatnam Brothers.
The Music Academy featured the Rudrapatnam Brothers, R.N.Tyagarajan and R.N.Taranathan with M.A.Sundareswaran (violin), Umayalpuram K.Sivaraman (mridangam) and Sunder Kumar (kanjira). The Lalitha alapana with all the relevant anuswarams in their exact grooves and felicity of expression had spontaneity. The violinist always keeps his enthusiasm on a tight leash. His raga essay was filled with melody to the hilt. The misra chapu Dikshitar kriti, `Agastheeswaram' on Lord Siva, the niraval for the sequence `Kali Kalma Sapakam Kamaneeya Vigraham' and the swaraprastaras furnished with musical and rhythmic values gained audience approval.
The mridangam support for the swara singing was exemplary, showcasing the vidwan's instrumental mastery and accompanying sensibilities.
Harikhambodi, the 28th mela that used to be considered a poor sibling of Khambodi in the past despite its melakartha status, in the present kutcheri scenario has acquired a comparatively elevated position as many vidwans are giving it pride of place in their performances. The alapana with all the pertinent ingredients present in full measure was a full-fledged development with no ambiguity. Sundareswaran's reply creditably represented the ethos of classical music. `Endukunirdaya' that has a different structure from the customary kriti of Tyagaraja, the swaras as sarvalagu chains as well as organised calculations the dhaiwata kuraippu with pleasing finishing solfa phrases and a korvai, found ready auditory acceptance.
Gone are the days when rasikas made a beeline to the canteen during the thani avartanam. When superb artistes like Umayalpuram Sivaraman are in charge of the percussion department there is no dearth of vidwat and performing excellence. His rhythmic interlude with the kanjira vidwan with innovative laya patterns had the vitality of youth and the maturity of experience.
To Sunderkumar's credit, he rose to the occasion, not inhibited by sharing the platform with a vidwan of such great repute.
Koteeswara Iyer's `Mohana Kara' in Neethimathi with a lovely outfit was satisfying although a few hints of suddha madhyama in the tara sthayi could have been avoided.
Hamsadhwani elaborated positively by both singers with commendable adherence to the sruti, was the melody chosen for the Ragam Tanam Pallavi. The tanam though on predicted lines was brisk and arresting while the response on the violin was testament that the artiste was a legatee of an inspired tradition. A simple pallavi, `Lambodara Lakumikara' in Adi talam with an Anagatha eduppu and the tri kala and the swaras in madhyama and dhurita kala filled the bill with credence.
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