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It is youth time

Jayamangala... attractive resonance.

THE THREE cute kids looked almost insignificant on the huge stage of the Youth Hostel. It was not a children's programme. Nor was it a parody of a Carnatic music concert. It was the seventh annual music festival of Hamsadhwani.

The smallest and youngest of the three, Master Vishal Sapuram, was the vocalist. Rohan and Charumathi on the mridangam and violin respectively are in their early teens.

Vishal with his rigorous tutelage under chitraveena exponent. Ravi Kiran sang Kedaragowla varnam in two speeds, extended kalpanaswaras for Hamsanadam and detailed Sahana and Kalyani with conviction. Yet the kid in him surfaces because the boy has the disadvantage of the voice, neither masculine nor feminine. Swaras may be arithmetic combination to recite but alapana becomes uncannily elusive. One should wait for Vishal to grow. Rohan and Charumathi show promise, as they are at the threshold of youth. Rohan's fingers are calculative and Charumathi's phrasings come with amazing comprehension.

Srilankan Tamils are known for the patronage they extend to Tamil culture and art in foreign lands. It was heartening to hear teenager Abiramy Gnanasampanthan's veena concert at Hamsadhwani. Abiramy's fingers move with fluidity and her meettu is powerful. She made a precise vinyasa of Kalyanavasantham followed by a thanam and ``Nadaloludai". Her swaraprasthara had impact because she framed her swaras in such a way that the percussionist could repeat after each stretch.

Young Ravi Shankar Subramanyan of the U.S. on the mridangam matched well with old A. R. Chellappa on the ghatam. It is time that Abiramy also started concentrating on the bhava aspect with her expertise as that is a requisite for a good vainika. Jayamangala Krishnamurthy's voice has an attractive resonance.

The Ragam, Taanam, Pallavi in Keeravani was the highpoint of her concert.

Jayamangala's raga alapana was quite brisk packed with a surfeit of brigas. Her tanam was spirited and pallavi rhythmic followed by the winding ragamalika swaras.

An accomplished mridangist, her technique could not be faulted. But one thought that the entire Keeravani package seemed to have been kept at a slightly feverish pitch.

Jayamangala should pay more attention to the structure and steadiness in the melody aspect of raga rendering. She had good accompanists in R. Satish Kumar on the violin and an energetic teenager Shravan Srikumar on the mridangam. Undeterrred by the unseasonal rain, secretary Ramachandran conducted the concerts on the stage itself with a few makeshift arrangements. With the result, the concerts turned out to be a family affair. That it is so in many other sabhas even without the rain is a different issue. The rhythm of the falling rain added to the atmosphere.

It is not a surprise anymore to find young people performing on stage. If a youngster has a fairly good vocal prowess and musical inclination, performing on stage becomes a rehearsed play. Kiranavali Vidhyasankar's kutcheri was more like the recital of rehearsed kritis without soul or significant tonal quality. Starting with ``Sarasuda" (Saveri varnam), she briefly sketched Sriranjani(``Brochevarevare") and switched over to Begada. A listless alapana was followed by an equally insipid ``Karunakara Madhava Mamava" (Swathi Tirunal) and the statutory load of predictable swara combine. Padma Shankar and Sridhar Chari also contributed their equally indifferent outputs.

Instrument players often develop a penchant for hyperbole presentations. If they are young the hazard is greater. Luckily, Prashant Radhakrishnan (U.S.), another teenage youth and disciple of Kadri Gopalnath presented a fairly restrained saxophone concert. The Kalyanavasantham (``Nadaloludai") and Karaharapriya (``Pakkalanilapadi") were marked by leisurely pace and proved his comprehension of ``sowkya" bhava. Neyveli Radhakrishnan (violin) blended very well with

Prashant's. Rohan (U.S.) on mridangam is an unobtrusive, subdued, well-modulated, clear and pleasant percussionist. His thani avartanam in misra chapu was neat. If one overlooks the slight staccato style, Iyer Brothers's (Ramnath and Gopinath from Australia) veena can be an enjoying experience as they play in good unison. ``O Jagadamba" in Anandabhairavi and ``Baghu meera" in Sankarabharanam were rendered without any extra frills. Poovalur Srinivasan (U.S.) and B. Ravi provided the perfect percussion prop.


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