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Music Season
MUSIC ACADEMY
Left nothing to be desired
SULOCHANA PATTABHIRAMAN
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Octogenarian R.K.Srikantan’s enthusiasm and the melodic strength of the vocal chords were amazing.
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Photo: V. Ganesan.
TO BE CHERISHED: R.K.Srikantan with son Ramakanth.
After an auspicious beginning of nagaswaram music on the first day of the morning concerts by the husband and wife team Sheikh Mahboob Shubani and Khaleeshabi Mahmood Sheikh, the vocal concert of octogenarian (Sangita Kalanidhi) R.K.Srikantan was featured on the second day.
The Adi Tala Tisra nadai kriti in Hamsadhwani by Harikesanallur Muthaiah Bagavatar, was fused with energy by a spate of swaras for the Pallavi line ‘Gam Ganapate.’
It was amazing that the vidwan’s enthusiasm and the melodic strength of the vocal chords were at an optimum level in spite of advancing years. Nagai Muralidharan’s swara responses were as meticulous as always.
Vegavahini was elaborated with astute perception of the raga bhava by the vidwan that was followed by ‘Dikshitar’s ‘Veena Pustakadharini’ in Kanta Ekam. The vistara of Useni by the maestro with delectable harmony of expression, and Swati Tirunal’s ‘Sri Ramachandra’ provided contemplative music.
The percussion support for the song by the veteran Umayalpuram Sivaraman was, to say the least, outstanding. The Janaranjani Vinyasa gently wooed rasika ears while the violinist’s expansion without transgressing the canons of grammar, with phrases opposite to the melody was indicative of quality of musical thought.
Syama Sastri’s ‘Nannubrova’ was woven with flowing swaras by both father and his son and disciple R.S.Ramakanth.
All that is old may not be gold, but traditional classical ragas such as Saveri never lose their lustre and the elaboration by the senior and junior vidwans left nothing to be desired. The higher octave prayogas by Ramakanth were clear cut, while the initial development by Srikantan was the acme of undisputed consciousness and erudite analysis of the raga’s intrinsic beauty.
Tyagaraja’s ‘Incha Thamasa’ in misrachapu with its niraval and swaraprastharas, totally in line with the sruti, represented all that is dignified in the art.
The artistic dimensions of Muralidharan are constantly widening, as was evident in his pin point precision in his answering solfa statements.
The kuraippu in the shadjam, four mathrai away from the samam, was an exposition of laya mastery. The rhythmic support of Sivaraman elevating the concert level, transcending categorisation, and the thani avartanam with Giridhar Uduppa on the ghatam, evoked spontaneous rounds of applause.
The passion and commitment to his art was obvious in Srikantan’s Kanada essay, despite a few breaks in the voice in the upper register. The song chosen was ‘Manasukaragade’ by Pranesha Vittala. The soothing articulation in the Mohanam suite by Srikantan brought peace and tranquillity to the very appreciative audience.
The Purandara Dasa composition with complete onenesis of Sruti, ‘Adharam Madhuram’ (Madhurashtakam) melodically garbed in Karnataka Deva Gandhari, and a Sindhubhairavi composition of Sripadarayar, kept the listeners glued to their seats. A concert to be cherished and remembered.
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