MUSIC ACADEMY
Need for variety
Photo: S.R.Raghunathan
Subhashini Parthasarathi.
Subhashini Parthasarathi did not make a particularly strong impression initially.
The varnam in raga Vasantha that she sang first was a welcome change from those in Saveri and Kedaragowla that we have heard more than twice in recent days. But beyond that, there was no escape from the discomforting truth that the same kritis or ragas, such as ragas Khambodi and Kiravani and the kriti `O Rangasayee' among others, have featured with some regularity.
Subhashini Parthasarathi's next two songs were Tyagaraja's `Ranannu Brovara,' and `Yevarikai Avataramettitivo,' which were also featured on the proceeding days.
The repetitiveness of compositions is not peculiar to any one sabha and therefore needs to be debated in the interest of promoting variety at performances. This is significant from the point of view of the rasikas, most of whom attend several concerts, either in one or many sabhas.
Subhashini's next song was Papanasam Sivan's `Pirava Varam Tarum,' in raga Latangi. And here, the niraval may have proved the vocalist's nemesis.
Subhashini took the anu pallavi as the basis for this purpose. The original lyrics read as: `Pirava Varam Tarum, Pirandalum Un Tiruvadi Marava Varam Tarum.' As she sang them, it was `Pirandalum Un Tiruvadi Pirava Varam Tarum,' distorting its essence. It is hard to explain this away as a mere slip because the erroneous construction kept recurring.
Poorna Vaidyanathan's essays in ragas Latangi and Hanumathodi were most noteworthy and Delhi S.Sairam kept great timing and balance with his mridangam.
GARIMELLA SUBRAMANIAM
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