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Music Season
SRI KRISHNA GANA SABHA
Crisp and lively
SVK
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The sangatis by Priya Sisters were articulated with a chosen liveliness. And Vijayagopal’s rendition was meticulous.
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Photos: R. Shivaji Rao
Elaborate:Priya Sisters .
The characteristic performing style of Priya Sisters, Haripriya and Shanmukhapriya, is to sing so fast that they give rasikas time only to listen and not to understand the depth. The impoverishment of loftiness was sought to be made up with elaborate ornate forms with grandiose structuring.
The alapana of Yadukulakhambodi (‘Kaalai Thookki Nindraadum’) Kharaharapriya (‘Pakkala Nilabadi’) and Pantuvarali (Ragam, Tanam and Pallavi) was one of unrelenting sanchara-driven delineation.
There was very little of subtle variations of emphasis. Delicacy of expression was beyond their realms of formula-ridden technique. Nothing tangible about the poetic form of the ragas was conveyed. Sanchara affluence got the better of soothing quality.
The way they sang the kirtanas revealed crisp identity with primacy to the grandeur of their structure. The sangatis of the kirtanas were articulated with a deliberately chosen liveliness. The items ‘Sobilllu Saptaswara’ (Jaganmohini) and ‘Pakkala Nilabadi’ were rendered enthusiastically with verve and vivacity. ‘Sri Kamalamba Jayatu’ (Ahiri) and ‘Sri Vataapi Ganapathiye’ (Sahana) at the start were comparatively sober. The swaraprastaras to the chosen songs provided the petty delights of Kanakku.
Raghavendra Rao was the violinist who also reflected the pace of the vocalists in the solo versions of the ragas. Thanjavur Murugaboopathy (mridangam) and S.V. Ramani (ghatam) extended adequate support to buttress the songs.
B. Vijayagopal.
The flute recital of B. Vijayagopal was vitally alive based on strong blowing and well-coordinated fingering. He gave free rein to his expressional creativity which was not just spur-of-the-moment technique, but a good synchronisation between-manodharma and articulation.
Quality consciousness was clearly visible in his musical make-up. The play conveyed the nuances special to flute both in the matter of raga alapanas and rendering of kritis. There was organic discipline in the sequences of sancharas in the elaboration of Malayamarutham (‘Manasa Etulorthune) and Varali (‘Kaa Vaa Vaa’). Each movement of the ragas came through a good mix of karvais and well-thought out passages. They were convincingly authentic. Their appeal was imaginatively conceived and laid out.
The rendering of kirtanas was meticulous and methodical. The sangatis were shaped with clarity. Besides the two songs mentioned earlier, he played ‘Swaminatha Paripalaya’ (Nattai) and ‘Anupama Gunaambudhi’ (Atana). These two were presented with impeccable finish.
The success of the concert was not a little due to the accompanists R.K. Sriram Kumar (violin), Mannargudi Easwaran (mridangam) and Madipakkam Murali (ghatam). The three provided the necessary balance. It was the natural rhythm of the soft and the swift in the solo raga versions of Sriram Kumar that made his role both supportive and catalytic to the effort of Vijaya Gopal.
A great mridangist proclaims his maturity by the brevity of thani, and Mannargudi Easwaran did exactly that. His tonal cares and richness of patterns marked the depth of laya exposition.
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