Simply conveyed with great effect
GOOD MUSIC is not merely keeping the listeners pleased; it should also help them understand the beauteous phases of a raga in short spells, the characteristic graces of a composition without over decoration by way of unwanted sangatis and economy in kalpanaswaras, when an artiste sings with due respect to the emotions portrayed in a song, he or she takes the rasikas closer to the atmosphere created in the kirtana. When this is achieved the relationship between the vocalist and the audience becomes reciprocal.
In the case of many young vidwans and vidushis very little sustained attention is paid to the classical depth and santham of Carnatic music. The drive to impress with poor equipment is evident in many concerts. External musical adornments are no substitute for perceptive insight into the core of Carnatic music. The accuracy of the rendering of a song or raga has to be linked to the expressive possibilities of a well-trained voice influencing the creative process to emerge with aesthetic force. When interpretative music skims the surface, it makes the rasikas just listen and not visualise the depth. Intuition, instinct and sensitive orientation are not given to all musicians, but conscious effort towards these aspects will pay dividends. Great music is as much due to the high ideals held in view as to the attention to ragas and compositions sung. How well a concert envelops the mind of the performer and the listener is the litmus test.
There was passion, devotion, zest and confidence in the concert of Vasundhara Rajagopal under the auspices of the TTD Information Centre. She let it be known her commitment to the demands of Carnatic music. The alapanas of Hindolam, Subha Pantuvarali and Sankarabharanam were tidily dished out with cohesive design. The sancharas came out with full-throated ease and their brief portraits were effective in revealing the lyrical aspects. Her style of presentation was free from any pretence of sophistication, but emanated from simplicity of approach.
Being a performance in the Navarathri series the songs were: "Sri-Kamalambike" (Sri), "Mammavatu-Sri-Saraswati" (Hindolam), "Sarasija-naabha-sodari" (Nagagandhari), "Maha-Lakshmi" (Sankarabharanam). The way she rendered them stressed that music plainly conveyed, pleases more than demonstrative oratory. The contribution of the violinist, Usha Rajagopalan, was a spontaneous offer in absorbing and reflecting the musical texture of Vasundhara Rajagopal. Poongulam Subramaniam (mridangam) and Pudukottai Ramachandran (ghatam) extended sportive support to the vocalist.
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