Tranquil and divine music
R. K. SRIKANTAN'S Musiri Chamber concert was noted for poise, tranquillity, divinity and all that is associated with the old-time Carnatic music.
His son S. Ramakanth gave good support. Right from the start of the concert, which was Venna Kuppaiyar's Kedaragowla varnam, till the end song, Purandara Dasar's "Karuniso Ranga" in Mohanam, there was not a moment of dullness. The raga alapanas, especially Ananda Bhairavi (Syama Sastri's "Mariveregati") and Saveri (Tyagaraja's Ramabana), bore a well-defined method, progressing step by step, and what more, most unhurriedly.
The delicacy and dexterity spoke of the veteran's long and hard training. When he sang "Nadadinamata" (Janaranjani - Tyagaraja), "Samukana" (Kokilavarali) and "Neerajakshi", Musiri's memories were revived. Mysore Sadasiva Rao's "Ninuvinagati" in Balahamsa quite charmed. The Darbar alapana for Tyagaraja's "Munduvenaka" was noted for its clarity, and the sancharas in the kriti were rich and intricately designed.
Simhendramadhyamam received detailed treatment, and the alapana was studded with emotional ripples and fully fitted into Swati Tirunal's "Rama Ramagunaseela" with neraval and swaras at "Munimanasa".
In short, in Srikantan's concert, there was no razzle-dazzle that you find in most of the modern day renditions to mesmerise the audience.
To say that R. K. Sriramkumar (violin) gave full support is an understatement. Inspired by the softness of approach in radiating profound vidwat by the vocalist, he also produced phrases, which were persuasive than aggressive and emphasised his growing stature in the violin world.
The mridangam maestro T. K. Murthy dazzled the laya buffs with intricate patterns and received cheers at the end of every teermanam. It was moving to see him prodding and guiding the teenaged Anirudh on the kanjira.
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