MUSIC ACADEMY
Rich in melody, well presented
SULOCHANA PATTABHIRAMAN
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In the company of Embar Kannan and Vellore Ramabhadran, S. Sowmya presented a recital high in traditional values.
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Photos: K.V.Srinvasan and K.Pichumani.
APPEALING: S. Sowmya
The performance of S. Sowmya in the company of Embar Kannan on the violin and the redoubtable Vellore Ramabhadran on the mridangam was on a high plane throughout, marked by tradition, richness of melody and presentation skills.
The swaras for Tyagaraja's `Brochevarevare' in Sriranjani flowed freely finishing with an orderly korvai. The Bilahari alapanas of both the vocalist and the violinist touched considerable heights.
`Sri Bala Subrahmanya' of Dikshitar, the niraval and the swarakalpana confined to the dhurita kala, emanated an aura of assured confidence. Kannan's replies with the soft, gentle support of Ramabhadran, were sufficiently fine tuned.
A brisk `Srikanthani' of Tyagaraja in Bhavapriya gave a lift to the proceedings. The swaras, equally vivacious, were meticulous in laya and in raga bhava. The sarvalaghu has an endearing, foot tapping quality and the master of sarvalaghu, Ramabhadran, played with great zest to add much pep to the exercise.
Saveri, appropriately chosen for a morning kutcheri, was developed with central focus on the "Pracheena Pidis" as old as Father Time, that had prompt appeal. The tara stayi was explored in detail with sruti unison and catchy prayogas meriting instant appreciation. Kannan's alapana through the various stayis moved with the easy, supple, grace of a Russian ballerina.
`Devi Pavane' with aesthetic niraval in both the slow and fast kalapramanams and the swara sequences also in two speeds were indicative of a mind in search of perfect presentation. The kuraippu in the panchamam mounted on a rhythmically scholarly korvai did have the desired effect of a round of applause. The tani avartanam was a pleasant synthesis of percussion nadham and laya accuracy.
A Tamil composition in Devamanohari was a presage to Chenchurutti taken up for Ragam, Tanam and Pallavi.
The raga dissertation, with exclusive sparkle and glow, mirrored the artiste's very creditable musical, venturesome mind. It requires a brave approach to even think of a pallavi in Chenchurutti, a melody with limited scope.
Kannan like his mentor A. Kanyakumari has a `never say die' attitude and he rose to the challenge and emerged with credit. The Tanam, reminiscent of the singer's guru T. Mukhta, was packed with phrases pertinent to the genre. The pallavi set to Misra Triputa Tala, the trikala, the niraval and the swara improvisations with the positive support of the accompanists, was a job very well accomplished.
The ragamalika in Nadanamakriya, Navaroj, Punnagavarali, Yamuna Kalyani and Sindhubhairavi was a well conceived effort that kept the audience captive. `Adum Chidambaramo' in Behag and `Adineepai' in Yamunakalyani were delectable numbers to draw the curtain.
Raji Gopalakrishnan.
Raji Gopalakrishnan's Arabhi alapana made obligatory listening to those who appreciate the sophistication and wholesomeness of Carnatic music.
Usha Rajagopalan melodically traversed the octaves with resourceful imagination and percentage playing technique. `Joothamu Rare' of Tyagaraja with niraval and swaras without being just ordinary formula fare, did keep the listener pleasantly engaged. Melakkaveri Balaji and Madipakkam Murali, on the mridangam and ghatam respectively, were active in their support.
The mandari composition of Patnam Subramania Iyer, `Ninnucheppa Karanamemi' sung in an athletic vein, created a favourable impact. The delineation of the vivadi raga Kalavathi by the vocalist and the violinist with acute perception of the raga swaroopa had commendable completeness. Dikshitar's `Kalavathi' had an iguana-like grip on the sruti. The Kanda Chapu composition of Papanasam Sivan in Malayamarutham was an elegant rendition without being flashy or exhibitionistic.
The Thodi alapana with plenty of sustained korvais, slow and fast prayogas delved deep into the core of the melody to emphasise its special rakti, and scope for elaboration. However, the tara stayi forays had to be restricted to an extent, because of a slight strain on the vocal chords. Usha responded with her customary competence.
Tyagaraja's `Emijesithe' that has been in hibernation in recent times, was a welcome choice.
The expansion of the lyrics `Vara Mantra' and the kalpanaswaras infused with meticulous laya calculations, served the forms of niraval and swara singing adequately. The rhythmic interlude with sound laya statements, satisfied normal parameters.
Sarangatharangini, in which the master GNB has composed a lovely song, is a raga that is Kalyani or Dharmavati, according to one's preference, sans the Gandharam.
The alapana was a colourful skein that was woven skilfully to highlight its exclusive shades.
The violinist's interpretation had creditable inputs that had a firm grip on the connoisseur's mindset. The tanam registering conviction was followed by a Pallavi in Khanda Jati Triputa talam with the sahitya, "Vandanai Seidhidu Maname Dhinamum Guhanai Kandhanai."
A well-organised presentation with swaras in two speeds, tri kala and ragamalika in Revagupti, (Usha played Bowli instead) Varali, and Nalinakanti gave an additional boost to an interesting programme.
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