CHENNAI FINE ARTS
Cupfuls of melody
S.SIVAKUMAR
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The artiste made sure that there was no deviation from perfection.
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PHOTO: N. Sridharan
LUCID: Anayampatti Ganesan playing jalatharangam.
A performer of the jalatharangam never can rest with learning kirtanas or ragas. Sruthi alignment and swarasthanam have to become an integral part of him. An infinitesimal change in the quality or quantity of water inside the cups used, or a hard stroke with the stick deployed, would make a perceptible difference in the notes being produced, resulting in a "musical-strain" on the ear. Anayampatti Ganesan, when he performed at Gokhale Hall, proved that in his exposition there would be no deviation from perfection. Observing the method of playing, from close quarters was itself an experience. The concert had an all-Tyagaraja selection, except for `Manasa Sancaharare' (Sama, Sadasiva Brahmendra). He played `Sadinchane' (Arabhi Pancharathnam) lucidly capturing the swara-sahihtyam for the charanam.
His Kharaharapriya (Pakkalanilapadi) alapana was an endeavour that presented all that is required of an alapana - brigas, the ebbs and flows, et al. His other songs were `Raghunayaka' (Hamsadhwani), and `Thathvamaruga Tharama' (Garudadhvani). The notes from the jalatharangam cannot be made to linger for too long a period and Venkatasubramaniam (violin) always adjusted his playing to prolong the notes as required. His Kharaharapriya had fine determining phrases born out of experience.
Madirimangalam Swaminathan (mridangam) has accompanied the veena regularly and was a picture of caution while playing for the songs and during swaraprastharams. He made sure that the jalatharangaam was well heard, throughout. He gave a thani of fine combinational sollus. Kudos to Chennai Fine Arts for having arranged a Jalatharangam (Ekaika) concert.
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