NUNGAMBAKKAM CULTURAL ACADEMY
Creation here was continuous process
S. SIVAKUMAR
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Saveri left its gentle footprints in the mind of the listeners.
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Photo: R. Shivaji Rao.
EXQUISITE: Padmavathy Ananthagopalan and Jayanthi Kumaresh.
Padmavathy Ananthagopalan and Jayanthi Kumaresh presented a veena concert and one experienced a sense of continuous creation as the concert marched on.
The Kalyani varnam gave the concert the start and `Jagadanandakaraka' (Nattai, Pancharatna) and `Palinchu Kamakshi' (Madhyamavathi-Syama Sastri) followed.
The raga alapana for Dharmavati (`Parandhamavathi' - Dikshitar) had exquisitely crafted phrases in close sequence.
Saveri (`Muruga Muruga Endral'-Periasami Thooran) was monarchic and left its gentle footprints in the mind as the song was completed.
The main raga of the evening, Mohanam, was brought out more as a natural outcome formed by the many soulful phrases presented by Padmavathy, which were mirrored with attractive embellishments by Jayanthi.
After the tanam (does it sound synonymous with the veena) instead of a pallavi, it was the Mysore Vasudevachar kriti, `Raa Raa Rajeeva Lochana Rama.'
One listened with pleasure as the raga prayogas of Sahana, Valaji, Kaanada, and Hamsanadham made their vivid presence during the swara cycle ragamalika that followed the kriti.
In retrospect, it struck one as slightly heretical that the song in Mohanam had been inflicted with all these ragas resulting in the loss of the kritis' exclusivity.
The concert also included `Rama Nee Pai' (Kedaram - Tyagaraja) and `Naarimani' (Khamas - Dharmapuri Subbarayar).
B. Sivaraman on the mridangam and Guruprasad on the ghatam played to their full capacity during the thani, and restrained themselves with objectivity to become proper accompanists for a string instrument.
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