MUSIC ACADEMY
Infused with original thought
SULOCHANA PATTABHIRAMAN
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G.S. Mani's recital stood out for its creativity and improvisation.
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Photo: R. Shivaji Rao.
SOLID MUSICAL APPARATUS: Madurai G.S.Mani.
The auspicious Gowla kriti `Sri Maha Ganapati' of Dikshitar gave a tuneful start to G.S. Mani's vocal concert. Mani is an innovative musician who seldom treads the beaten track, but infuses original musical thought in his art. His delineation of Kosalam, focussed on the nuances of the vivadi raga, was a kaleidoscope with sound, arresting prayogas. Koteeswara Iyer's `Ka Guha' and `Janani Ninnuvina' of Subbaraya Sastri in Reetigowla established a suave audience rapport.
V.L.Kumar's Kosalam alapana was in complete harmony with the raga melody, and he was supportive in the kriti exposition, `Haramanasa' on Devi, the singer's composition in Sanskrit in raga Desakshi. Mani elaborated the melody with attention to its structure bhava and grace. The raga Desakshi, is a janya raga of the 28th Mela Harikhambhodi.
The listeners stepped into familiar territory with Tyagaraja's `Durmarga Chara' in Ranjani that finds the artiste, to use cricketing parlance, in perfect middling form. Vakhulabharanam the 14th kartha raga, had an imperious gait with karvais, and the brighas sprinting through the sthayis as though the vocalist's pet event was the 22 yard dash.
Kumar put his best foot forward in his alapana that had more Jarus and plain notes akin to the Hindustani concept than the Carnatic system. A Telugu composition, also the vidwan's own on Devi, with niraval for the lyrics `Kamari Gamini' and on the spot swara improvisations were part and parcel of the solid musical apparatus of the vidwan. However, one small fly in the ointment was the hint of the chatusriti rishabham as an anuswaram for the antara gandharam in the pallavi.
Perhaps it was a temporary aberration as Mani's musicianship has the strength and power of a Samson. `Vijayambike' in Vijayanagari and `Paripalimshumani' in Suddhasaveri were the sprightly fillers. The Bhairavi dissertation with an opening prayoga that instantly showcased the identity of the raga, was interesting fare from stem to stem. The methodical progress, and the upsurge of the regal mien of Bhairavi, effectively capture the attention of music buffs. The statement on the violin went beyond the ear, offering not only auditory pleasure, but also an emotional fulfilment. A small suggestion — lingering on the suddha dhaivatam in the descending prayogas before reaching panchamam introduces a touch of Manji, and no harm done if this is eschewed. Syama Sastri's `Sarievaramma' in Khanta Jampa had a brief spree of swara passages.
Mannargudi A. Easwaran is one of the aces in the contemporary percussion pack, and both his accompanying skills and solo efforts have competence, dexterity and intelligent interpretation of the various aspects of laya. K.S. Mani on the jabhura was a creditable foil and their tani avartanam was an exercise in absolute laya control and expertise. A nondescript expansion of Dhenuka, and the hurried tanam because of paucity of time prefaced the pallavi `Poorani Puradhani Sive,' `Mampahi Santhatham' in Tisra Triputa with a sama eduppu had a simple pallavi structure. The usual trikala sung with `josh' and the fast swaras with a kuraippu in the panchamam concluded the pallavi segment.
Mani's abhangs are a real treat and are soulful, spiritual and devotional experiences, that provide musical euphoria in abundance. His abhang, a Tamil Song, a viruttam and a light classical in Sindubhairavi had a good measure of aural thrust.
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