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Music Season
BRAHMA GANA SABHA
Interpretation akin to that of MLV
SULOCHANA PATTABHIRAMAN
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With total sruti suddham and the voice in full flow, listening became rewarding.
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Photo: B. Jothi Ramalingam
Charumathi Ramachandran
Charumathi Ranmachandran, a touch bearer of the GNB bani, being the disciple of M.L.Vasantha Kumari, has also enhanced her musical dimensions by increasing her repertoire from vidwan D.K.Jayaraman and Vidushi T. Brinda,. In her concert for Brahma Gana Sabha, her daughter Subhasri provided the vocal support and the instrumental accompaniment was by violinist M.R. Gopinath, mridangist Kallidaikurichi Sivakumar, and ganjira player Anirudh Atreya.
That Charumathi is a singer with a difference is emphasised when she is never circumspect in terms of rendering songs in ragas like Mohanam and Hamsadhwani back to back. “Ninnukori,” the Mohana varnam by Ramanathapuram Srinivasa Iyengar, had Sachidananda Swami’s “Pahi Pahi” in Hamsadhwani following at its heels. The swara chains for the latter although brief, were fluently sung with unfettered imagination.
“Ramuni maragave” in Kedaragowla by Tyagaraja is rather a rare kriti that is rendered in concerts. Charumathi did well to have chosen this composition in which the beautiful nuances of the raga are so well exemplified. A pleasing cameo of Ritigowla preceded Dikshitar’s “Sri Neelothpala Nayike” in praise of the Queen of the blue Lotus. Charumathi’s song interpretation was akin to that of her guru MLV.
The delineation of Kalyani with commendable pauses sans loading it with a cluster of phrases one after another left a refreshing aftermath. With total sruti suddham and the voice in full flow, the effort of the singer made rewarding listening. Gopinath’s answering statement, avoiding the superfluous, merited appreciation. “Sri Guruguha” in Devakriya and “Enneramum” in Devagandhari are ear friendly precursors to the comprehensive alapana of the 19th mela Kiravani. Once again it has to be said that the intermittent pauses between sancharas gave the exercise an additional stature. Subashri’s participation in the raga build-up was an example of how one’s resources can be intelligently marshalled and presented with conviction. Gopinath’s Kiravani was perceptive and wholesome. The scholarly niraval punctuated with nadai variations, and the swarakalpana had the quality to keep attention riveted.
Kallidaikurichi Sivakumar and Anirudh Atreya’s tani avartanam was a positive display of rhythmic competence.
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Music Season
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