|
Music Season
MYLAPORE FINE ARTS CLUB
In festoon like patterns
SOWMIYA M.
|
G.S.Mani’s creative capability was to the fore at his vocal concert.
|
Photo: M. Karunakaran
creative: G.S. Mani.
Amidst artists who are tradition (sampradaya) bound there are those with a creative urge, who pursue their own route. G.S. Mani, a veteran singer with a kaleidoscopic innings in the field of music, on November 17, is a fine representative of this creative order. The concert had elements that proved it at every stage. ‘Praanapate’ (Suddhadhanyasi-Adi-G.S. Mani) was pleasant in exposition. The kriti had a profusion of alliterative words and phrases, leading
to an exquisite, euphonic blending of words — ‘Ganapate, Praanapate, Jagadpate, Prakeerte, Sivasute, Pujite and Navanidhe’ are examples.
Raga Suddhadhanyasi was treated differently .The ‘saadhaarana gandhaara’ in Suddhadhanyasi is often heard with heavy characteristic oscillations to bring the raga swarupa, but here the singer’s treatment of the plainer ‘ga’ was equally charming. ‘Nadaamudam’ (Vaagadeeswari-Kotiswara Iyer-Adi), the vivadi raga based composition, was a treat.
‘Ramaneeya Shanvadane’ (Hamsanaadam-Khanda Chapu-GSM) followed a raga alapana. Hamsanadam being a scale-based raga, the delineation could become trite without the realisation of the consonances born of the relationship of swarasthanas. Mani lent a special charm to the raga elaboration through beautiful prayogas born of this realisation. The phrases seemed to flow naturally in festoon like patterns.
‘Maanasa’ (Abhogi-Adi-Patnam Subbramania Iyer) was preceded by alapana which brought long and plain swaras with the sensitivity for suswara, and meaningful pauses from which sprang aesthetically fulfilling movements. The exhaustive, unruffled exploration brought with it discoveries which revealed the raga in all its splendour. The interpretation of sangatis showed delightful synthesis of raga, artha and saahitya bhava guided by his imagination and insight.
The highlight of the concert was ‘Aarvathee Sambhaavaye’ (Shanmukhapriya-Misra Capu-GSM). His elaborate raga alapana unravelled hidden hues and shades in all its exuberance. It clearly showed his mastery over the raga. The sahitya with the beauty of the swaraksharas seamlessly flowed from a deeper consciousness, harmonising everything into a perfect whole. This is the only known kriti in Shanmukhapriya set to misra chapu tala. The varja prayogas were particularly interesting. The niraval in ‘Maaravikata Kumaara Vinutam’ was exemplary.
‘Verumaiyenum Velitanil’ (viruttam), the penultimate piece, was spiritually uplifting. This was followed by ‘Chidambaranai Digambaranai,’a fitting finale, which was a summary of the grandeur of the whole concert.
B.U. Ganesh Prasad (violin) adapted the unique style of the veteran vocalist admirably following the mood and the melodic and rhythmic nuances. Seasoned vidwan Srimushnam Raja Rao (mridangam) enhanced the concert with his masterly support. His thani shone with the splendour of the traditional even while maintaining freshness in individual interpretation. Srirangam S. Kannan (morsing) embellished the performance revealing himself at appropriate moments.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
|
