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Music Season
BRAHMA GANA SABHA
Strict adherence to the Parur bani
SULOCHANA PATTABHIRAMAN
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Narmadha’s recital showcased her talent and focus on her chosen vocation.
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Photo: R.Shivaji Rao
M.Narmadha
M. Narmadha, who has significant achievements to her credit, is one of the flag bearers of the Parur bani, being the grand daughter of Vidwan Parur Sundaram Iyer and daughter of M.S.Gopalakrishnan. In her recent concert, Narmadha played with J.Vaidyanathan on the mridangam and Tirukkannapuram Sowrirajan on the morsing. The Navaragamalika varnam played in two speeds with conviction and acute accuracy was a harmonious, powerful introduction to the proceedings.
Periasami Thooran’s ‘Gananathane’ in Saranga, and the swaras clear and with rhythmic intensity, had sound awareness of the raga colour, intelligently avoiding the nokku gamakam upwards from the suddha madhyamam.
Durbar was a positive interpretation with abundant melodic phrases in the alapana till. The swaras for the pallavi of ‘Yochana Kamalalochana’ with spirited outputs from the percussionists, had rapier cut and thrust.
‘Sobillu’ in Jaganmohini is one of the better options to enhance the spirited gait of the agenda, and the sarvalagu oriented swaras without excessive calculations, were proof of the artiste’s fires of performing zeal. Purvikalyani, developed stage by stage, was a shining example of the style of the Parur tradition. The hymns of Syama Sastri’s ‘Ninnuvina’ is invested with glowing quality that is frozen in one’s mindset. Narmadha’s alapana, song version and swaras with rich designs inundated with praiseworthy innovative, imaginative ideas, showcased her talent and focus on her chosen vocation. Muthiah Bagavathar’s ‘Saravana Bhava’ in Pasupatipriya and ‘Raghuvamsa Sudha’ in Kathanakuthoohalam, were race horses that galloped to the winning post with hurricane energy. Thodi was a dissertation reflecting a marked, creative mind. Punctuated with sweet prayogas, the exercise was similar to the limoges plate shimmering with opulent colours. Tyagaraja’s ‘Kaddanuvariki,’ affixed with swaras, commendable in terms of raga bhava and laya, were the efforts of an artiste always alert and watchful.
The tani avartanam by the trusted percussion lieutenants and also their support to the vocalist throughout, were rhythms of joy and cheer.
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Music Season
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