Concert sans sruti
The charm and glory of Carnatic music is based on the sahitya, sangita and voice. A judicious use of the voice helps an artiste to measure the dimensions of the other two aspects.
Despite his performing competence, T. V. Sankaranarayanan's interpretative dynamism in the numbers he presented at `Eppadi Paadinaro' at the Ramar temple, Coimbatore, on Sivaratri lacked aesthetic finesse.
With the sruti eluding him at several places most of the songs presented were driven by punch-packed tempo and rattling sancharas in the razzle-dazzle path he traversed throughout the concert.
A stormy swara exercise in the opening piece `Gananathane Gunabodhane' in Saaranga with which he flagged off the recital was followed by `Ra Ra Maayinti' in Asaveri marked again by swara exhibitionism.
His raga delineations of Abhogi and Lathangi for the rendition of kritis, `Sabhapathikku' and `Venkataramana' respectively, were full of sound and fury.
The main raga alapana, Mohanam, for `Kapaali' was framed with clever turns of phrases and the presentation of the song was in the manner of his mentor, late Madurai Mani Iyer.
The song `Aadum Chidambarame' and `Sevikkavendum' were enjoyable for their rhythm. Pakkala Ramadas was impressive with his balanced approach in picturising the ragas in his solo versions.
Suresh (ghatam) and Ganapathiraman (mridangam) made their presence felt through numerous laya patterns in their tani.
T. K. GANAPATHY
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