MUSIC ACADEMY
Breezy swaras
SULOCHANA PATTABHIRAMANS. P.
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Palai C.K.Ramachandran is a disciple of Semmangudi Srinivasa Iyer, who has kept percentage faith with the style of his Guru.
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Photo: K.V.Srinivasan
Palai C.K.Ramachandran.
Semmangudi R. Srinivasa Iyer and G.N.Balasubramaniam who arguably redefined the art of music, have left a legion of sishyas who faithfully stick to their masters' tradition with no compromises whatsoever.
Palai C.K.Ramachandran is a disciple of Semmangudi Srinivasa Iyer, who has kept percentage faith with the style of his Guru. That he was in good form at his concert was obvious in his breezy sarvalagu swaras for `Aparama Bhakti,' the Tyagaraja kriti in Pantuvarali. Tiruvaiyaru Subrahmanya Iyer was a lesser-known composer whose song in Telugu was set to music in Manirangu by Semmangudi. The very appropriate tune to drape the kriti that had also madyamakala sahitya, had a lively, spontaneous bearing.
Swati Tirunal's `Pankaja Lochana' in Kalyani (Misra Chapu) has been a favourite of the Semmangudi school for decades. As a prelude to the kriti, Ramachandran authored an alapana with sound musical concepts strictly within the cadre of Carnatic music. The niraval for `Brindavanantha,' and the swara imaginations were all creditable chips of the old block. `Ambaneelayathakshi' in Nilambari is an outstanding composition of Dikshitar in praise of Devi at the Kayarohaneswarar temple at Nagapattinam, sung by the musician in total communion with the sahitya bhava, raga bhava, bhakti bhava and a conscious effort to keep the kalapramanan in tune with the song.
In contrast, Tyagaraja's `Padavini' in Salagabhairavi with its agile, active bearing had the rasika on a roll. Thodi, elaborated with expressive, melody oriented karvais and nourishing prayogas, were distinctive features of a senior vidwan. V.V.Ravi on the violin was, as always, competent in his responding statement. `Sri Krishnam Bhaja Manasa' of Dikshitar with niraval and swaras were absolutely disciplined and methodical. Mannargudi A.Easwaran (mridangam) and T.V.Vasan (ghatam) were pillars of support in their accompaniment, and the thani avartanam was quality fare in laya expertise, both enjoyable and educative.
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