INDIAN FINE ARTS SOCIETY
Flute spells melody
G. SWAMINATHAN
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Jayaprada Ramamurthy settled for reposeful phrases on her flute and Ajay Nambudiri's deliverance carried elegance.
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Photos: Shaju John.
ENERGETIC: Jayaprada Ramamurthy (file photo)
It is in fact surprising to see that a slender woman could blow the wind so powerfully and sonorously. Jayaprada Ramamurthy from Secunderabad could create an atmosphere of energetic music through her 90-minute flute recital.
After the initial warming up with a navaragamalika varnam and `Ganamurthey' in Ganamurthy, Jayaprada had chosen Purvikalyani for delineation.
Surprisingly, she had not opted for the usual spiralling briga-soaked phrases and conversely preferred to set for winding and reposeful ones.
`Gnanamosaga Rada' and the mandatory niraval swara section at `Paramathmudu Jeevathmudu' had been executed with professional poise.
Ajay Nambudiri.
Abheri, a melody which can go well with an instrument like flute, and the famous composition of Tyagaraja, `Nagumomu,' were taken up for a detailed study.
Here also, Jayaprada established herself as a confident flautist concentrating more on the melody than on speedy or exaggerated versions.
Bangalore Jyotsna's violin support was another admirable aspect of the programme. Her bowing and fingering in Purvikalyani and Abheri were commendable.
Neyveli K.V.Ramkumar and Nanganallur Swaminathan on the mridangam and the ghatam supported the performer with professional ιlan.
It is common to find male singers showing aggression rather than humility.
Ajay Nambudiri has trained in vocal projection and deliverance that carries elegance with humility and emotional impetus to raga and lyrical values.
In his morning concert at the Indian Fine Arts, Ajay explored the aesthetics and sensitivity of Bahudari and Nattakurinji gracefully within the classical framework.
Bahudari that gets sweeping brigas and fast passages found a different treatment in Nambudiri's approach. His reposeful kaarvais and just-adequate roll-ons gave a different but interesting shade to Bahudari.
`Sadananda Tandavam' by Achuta Dasar with swara embellishments at `Mutharum Chitharum' carried tempo and delicacy.
Ajay's improvisation of Nattakurinji turned out to be a perfect mix of lilt and leisurely appeal. There were no vocal ostentations, yet the overall impact was rich and resonant.
Nambudiri negotiated the passages exploiting the range of his smooth and supple voice. `Mamavasada Varade' of Swati Tirunal and the swara line-up with choosy combinations of notes offered necessary weight to the final product.
An Abhogi varnam opened, and `Muruganin Maru Peyar' with a prelude of a verse from `Subramania Bhujangam' in Behag concluded the concert.
`Sri Kantimatim' (Hemavathi) and `Parama Purusham' (Lalitapanjamam) were added to keep the even flow of the concert.
Tiruchi R. Govindarajan on the violin, Tiruvidaimarudur S. Radhakrishnan on the mridangam and Nerkunram S. Sankar on the kanjira supportively elevated the quality of the programme.
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