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Music Season
BRAHMA GANA SABHA
Plethora of sangatis
Geetha Sundaresan, Muscat-based vocalist, was given an afternoon slot at the Brahma Gana Sabha’s annual festival. Padma Shankar on the violin and B. Sivaraman on the mridangam were the accompanists for this competent artist.
‘Ekadantam’ in Bilahari by Dikshitar was chosen to unfold the programme on an auspicious note. The swaras sung for the pallavi were assured chains of accuracy, free of rhythmic hesitation.
Tyagaraja’s ‘Melukovaiyya’ in Bowli with attention to anuswaram indicated the singer’s sensitive refinement for grammar. ‘Urmika’ is a rare raga that is a janya of the 57th mela, Simhendramadhyam, eschewing the suddha dhaivatam present in the parent raga. ‘Kalaratri’ of Muthaiah Bhagavatar had a plethora of sangatis sharpening one’s awareness of the raga’s beauty. Padma Shankar’s response was no less impressive.
The elaboration of the raga pertinent and perceptive, the kriti sung with alacrity to the ascending and descending scales, and the well-executed solfa sequences are efforts of a musician well tuned to tradition and the contemporary.
Mohanam has a perennial, attractive charm, which Geetha in her alapana emphasised with sustained long notes, madhyama and dhurita kala outputs, and a heartening sense of grammar with adroitness and accountability. Padma’s delineation was a sublime, musical analysis that was a shot in the arm for listeners’ appreciation.
‘Evarura’ of Tyagaraja, the niraval in the anupallavi and swaraprastaras with considerable proficiency in both departments, were defining characteristics of the quality of the musician. Padma’s expansion of the lyrics and swaras as precise as a Swiss watch. B. Sivaraman’s mridangam display was an asset to the concert.
A Karnataka Devagandhari light piece, and the Chenchurutti tillana by Oothukadu Venkatsubbaiear signalled the end of a performance that stood out for classical purity and discipline.
SULOCHANA PATTABHIRAMAN
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Music Season
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