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Music Season
HAMSADHWANI
Clipped phrasings, absolute harmony
G. SWAMINATHAN
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Srimathi Brahmanandam and Anuradha Sridhar lived up to the Lalgudi reputation; Kalpana Venkat’s musical imagery could not get translated completely.
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Photos: M. Karunakaran
Family affair: Lalgudi Srimathi and Anuradha Sridhar.
The most striking point one feels as one enters the Youth Hostel lawns for Hamsadhwani programme is the bonhomie of RRC, the brain behind the famous NRI Festival. The larger than life portrait of RRC looking at you with that familiar benign smile on his face from the stage adds to the aura.
Kalpana Venkat (nee Kishore) is a violinist made over into a vocalist, obviously for better reach. Whether her aim was achieved or not is perhaps a moot point. In the concert under review, the major snag was her not-so-co-operative voice. Because of that the swarasthanas were falling somewhat off the right places on several instances.
As a well trained musician, Kalpana has commendable vision on raga vinyasa and swaras. But her musical imagery could not get translated in the exact form because of the sruti and voice hiccups.
Brushing aside the handicap, Kalpana attempted Purvikalyani with ‘Ananda Nadamaduvar’ and later Kharaharapriya. In the Kharaharapriya raga she dwelt more on clipped phrasings; the long ones ventured fell either short of expectations, or just adequate without depth or emphasis in some places.
In comparison, the violinist, S. Karthik, bowed and fingered with extra care and was more emphatic in his delivery. The similar problem was encountered by him too but with lesser frequency.
‘Pakkala Nilabadi’ and niraval swaras at ‘Tanuvuche Vandanamu’ were the highlight but could evoke only a lukewarm response. This Begada varnam and ‘Sri Varalakshmi’ in Sri and ‘Srinivasa Thiruvengada’ in Hamsanandi in the end were on Kalpana’s agenda.
Kalpana Venkat.
The most confident and commendable person was Vinod Seetharaman (U.S.) who played on the mridangam with full control and certainty.
Discipline and chaste rendition are the hallmarks of Lalgudi lineage. Therefore, one can attend with confidence their clean and well set concerts to soothe their senses. Lalgudi Srimathi Brahmanandam, her daughter Anuradha Sridhar played violin with son Sriram Brahmanandam on the mridangam. So it was more a family affair with mutual harmony and K.V. Gopalakrishnan on the kanjira was the only outsider.
A good array of songs in the right manner with absolute time management proved their specialised touch in sustaining the interest of the listeners.
‘Raga Sudha Rasa’ in Andolika, tailed by ‘Amba Paradevathe’ in Rudrapriya with swara support and after a brief Atana raga it was ‘Mummurthilu’ of Tyagaraja. Anuradha expounded Vachaspathi and the kriti was Sivan’s ‘Parathpara’ and interesting swara sallies were attached. ‘Bhavayami Raghuramam,’ the Swati Tirunal Ramayana ragamalika came as a filler in between. Thodi was chosen as the raga for the evening which was shared by Srimathi and Anuradha; the choice went to Syama Sastri’s ‘Ninne Namminanu’.
The niraval and swaras at ‘Pannaga Dharuni Rani Suga Bani’ was done in limited extent with brilliant and precise swaraprastara pitched on ‘ma pa da pa da pa’ in varying combinations. Anuradha makes a crisp and clear announcement for every item and even sings the niraval part for the benefit of the audience which should be preferably followed by all the instrumentalists as concert etiquette.
Sriram Brahmanandam is a smart, bright and agile percussionist; he was brisk throughout the concert and his thani avartanam was impressive with Gopalakrishnan on kanjira without indulging in excess and showing right measure of energy.
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Music Season
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