SRI KRISHNA GANA SABHA
Picture of grace, flawless style
SVK
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Soothing calmness guided Jayashri's imagery while Ravikiran's chitraveena allowed full play of aesthetic instincts.
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Ravikiran.
The ecstatic excellence of Bombay Jayashri Ramnath's performing style rested on how with ease she made her pensive introspective and instinctive ideals sub-serve kutcheri pantha. The concert revealed that the elusive charm of her technique lay not so much in the way she expressed her musical mind as in the way she perceived the evolving beauty of expression itself.
There was no aggression, assertiveness or over-indulgence in her exposition, but a gentle persuasive amiability to impart modesty to her effort.
Her raga alapanas and rendering of songs conveyed the message that only soothing calmness guided her imagery. She mapped out the areas of creative magnificence exposing the beauty of every raga she sang, more suggestive than explicit. It is her feel for their graces that made her presentation unique. These factors contributed to the impression among rasikas that contemplative absorption formed the bedrock of her musical maturity.
The raga vinyasa of Sahana, the diadem on the recital, was a melodic investigation of Sahana's emotionally rich image turning the spotlight on its shades of elegance and tender mesmerising ravishment inherent in it.
Jayashri achieved this objective with varying degrees of vocal inflexions all the time presenting a picture of composure.
As she began `Giripai Nelakonna,' the effect loomed serene and meditative. Incredibly subtle, she could justifiably cherish it as her precious offering to the listeners.
An exquisite glow of finesse permeated the kirtana. The ensemble of raga, kirtana and niraval for the line `Parivaarulu Viri Suratulache' was a document of delicacy.
Earlier, the Dwijavanti piece `Akhilandeswari' and Suddha Saveri `Darini Telusu Konti' stood for the two aspects of poise (the former) and pace (the latter). To her, the programme was a conscious aspiration to take her to the realisation of sublime Sowkhyam, that is the essential core of great music. Jayashri is not just a top-class artiste, but one beyond categorisation.
The crowning phase was Ragam, Tanam and Pallavi in Mayamalavagowla, which was distinctive as in the case of other items. The Darbari Kanada `Sarvam Brahmamayam' carried the recital to its spiritual peak.
If the violinist R.K. Sriramkumar's response was on the same plane it spoke of the benign inspiration that Bombay Jayashri provided. There was convincing depth suggesting his firm faith in classicism.
The percussive rhythm from J.Vaidyanathan (mridangam) and Karthick (ghatam) was meticulously meaningful while playing for songs.
In the thani, smooth and sparkling, it looked as if percussive patterns came seeking them.
Behind every sanchara in the raga vinyasa of Begada (`Kadaikkan') by Ravikiran on the chitraveena, there was the full play of aesthetic instincts. It was a testament to his flawless style endowed with great ability. There were no flashes but a quiet felicity that was heart-warming. At his hands it was purity of music that prevailed.
The very first kriti, `Tulasi Bilwa' (Kedaragowla), set a healthy tone for the concert. Ravikiran's rendering encompassed all aspects of the kirtana's loftiness. Other items played were `Palintuvo' (Kantamani) and `Devati Deva' (Sindhuramakriya).
Akkarai Subbulakshmi, the violinist, was a model of fidelity to Ravi Kiran. Her Begada version was both precise and pretty. Palghat Raghu (mridangam) and Abishek Raghuram (kanjira) shaped their support in keeping with the mood of the music.
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