T. N. Seshagopalan sang for Nadaposana, accompanied by Delhi SunderRajan on the violin and by T. K. Murthy and B. Sivaraman (double mridangam). It mattered very little what kirtanas he rendered or what ragas he elaborated, for there was nothing but constant explosions of vocal turbulence. Still, one item was significant. With all pretensions to classicism, his alapana of Devagandhari could not coax the raga to lay bare its succulent sweetness. The song was: "Sitavara Sangita Gnanamu Dhaata Vraayavalera". His choice seemed to suggest a sort of introspection whether Brahma has gifted a good voice to him without the concomitant gnana for its proper deployment for musicality.
Deeper is an artiste's vidwat when aesthetic restraint is meticulously observed. Maturity blossoms when he or she does on the subtle graces of Carnatic music.
Sense of pride
Kutcheries are no doubt the translation of the inherent beauties of ragas and songs in contemporary idiom. Good music develops in the rasika a sense of pride, which Ravi Kiran, Chitraveena player, was able to achieve in his recital for the Krishna Gana Sabha in its Gokulashtami series.
There was organic discipline and even flow in the elaboration of the ragas and kirtanas Jayamanohari ("Nee Bhakti Bhaagya"). Kedaragowla ("Anda Rama Soundaryam") and Kalyani (ragam, tanam and pallavi).
The way young Nisha Rajagopal rendered the kirtanas in her cutcheri under the auspices of SAFE, showed that she formed her musical nourishment on padantara purity. Marked by balance and vocal modulation there was fluency in her alapana of Pantuvarali, Ritigowla and Kambhoji. She brought a positive attitude of mind in the way she interpreted the songs "Ninne Nera" (Pantuvarali) "Ninnaada" (Kannada) and "Evarimaata" (Kambhoji).
There was tenderness in the rendering of the Ritigowla piece, "Nannu Vidachi" paying due respect to its sensitive sentiments. There was a mesmeric touch in it. The violinist Padma Shankar provided simplistic support. Nellai Balaji (mridangam) played with enthusiastic fervour with Guru Prasad (ghatam) making his presence in the tani.
The compactness of the raga lines spoke of his abiding sense of proportion. "Varalakshmim Bhajare" (Sowrashtram) "Ninnu Cheppa Kaarana" (Mandari) and "Sri Raghukula" (Husein) were the other songs handled. While Sriram Parasuram on the violin was a match to Ravi Kiran in raga essays, an accompanist has to know when to stop. He erred on the side of excess.
In this respect Vellore Ramabhadran on the mridangam with his associate Vaikom Gopalakrishnan (ghatam) scored with gentle nobility of percussive involvement. SVK
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