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Music Season
MUSIC ACADEMY
Sprighthly Thodi
Photo: V. Ganesan
C.R. Vaidyanathan
C.R.Vaidyanathan in the company of Parur Ananthakrishnan on the violin and Ammangudi S. Ramanarayanan on the mridangam began his concert with a varnam followed by ‘Thulasi Dhala’ in Mayamalavagowla, Rupaka talam composed by Tyagaraja. Niraval and swaras came up at ‘Sarasiruha Punnaga’ and it consumed more time than it called for but the swaras were ear-friendly. Raga Bilahari was built up methodically and the violinist rose to the occasion in raga p
laying. His playing technique revealed his lineage.
The kriti ‘Smara Sada Manasa’ in Adi talam by Swati Tirunal was sung. ‘Sudhamayee’ in Amritavarshini, rupakam of Muthaiah Bhagavathar came next. Vaidyanathan moved on to the Thodi raga, the main piece of the concert. Generally Thodi’s nuances are difficult to come by but Vaidyanathan’s sincere attempt was good. In the upper octaves the nagaswara bhani of brigas flowed convincingly. To gain mastery of this weighty raga one must at least learn five or six major kritis of the trinity to comprehend and internalise its different facets. ‘Ninne Nammi’ set to Misra Chapu, by Syama Sastri with niravals and swaras was taken up. At the niraval point a small slip in the words crept in, instead of ‘Kamakshi Kanchadalayadakshi’ it was sung as ‘Kamakshi Kanchadalayasukhavani.’ Violinist Parur Ananthakrishnan commenced the Thodi raga very well but went a little awry later. Vaidyanathan’s swaras for Thodi were up to the mark and he has a distinct penchant for swara renditions. The concert came to a close with Andal’s ‘Karpuram Narumo’ in Khamas, set to Khanta Chapu talam. On the whole, the concert lacked gusto but it definitely had moments that made one sit up and savour the music. The occasional slips could well be avoided. Ammangudi S.Ramanarayanan (mridangam) showcased controlled display.
KRIPA SUBRAHMANIAM
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