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Majestic notes
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Prashanth's rendition was marked by high acumen
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FULFILLING While Prashanth dwelt on the finer aspects, R.K. Padmanabha’s veena rendition was high on creativity
Prashanth N.R. (at Ganabharathi)
firmly adhering
to the
traditional aspects
would not admit of any
kind of compromise, which
would undermine the established
norms: manodharma
expands freely
within the chaukattu laid
down by teachers of high
acumen.
Smitha (violin) and H.L.
Shivashankara Swamy
(mridanga) accompanied
the singer: their scholarly
contribution perfectly
matching with the singer's
mode and method.
Stable voice, gracefully
traversing the octaves, is
endowed with such a magisterial
tone that draws
immediate attention and
commands respect. The
general tempo, falling between
pleasing vilamba and
invigorating madhya layas,
made it congenial for enjoying
the finer aspects of
music.
Not casually treating the
varna "Viriboni" (Bhairavi -
atta taala) as a warming-up
exercise, the knowledgeable
artiste rightly presented
it as an exceptional piece
of scholarly magnitude.
Rendering both the
poorvanga and the uttaranga
in two speeds, (subjecting
even the ethugade
swaras to such orderly pattern),
he laid bare all the
ten gamakas (Kohala), ingeniously
incorporated into
the varna by
Pachimirium Adiappayya.
In some areas, the akaaras
took the form of naabhi
thanas, remaining undistorted
even in the taara
sancharas.
"Karikalabha Mukham"
(Saveri-Dikshitar), "O Rajivaksha"
(Arabhi-Thyagaraja)
and "Brovu Brovu"
(Keeravani - composer not
clear: with some discrepancy
in the beginning and the
end of the alapana) outshone
the varna in matters
of fervour, grandeur and
experience.
* * *
In R.K. Padmanabha (Veena - Shri Thyagaraja Sangeetha
Sabha and Ganakala
Parishath), one may mark a
fine blend of virtuosity and
creativity, and of the two,
ideally the latter shines
brighter, and that glow illuminates
the compositions,
mesmerising the
audience.
Kumarswamy (mridanga)
and S. Manjunath (ghata)
readily fulfilled all the
needs of the Vainika's manodharma
leading to a
grand success.
The instrument, which
Padmanabh played, was a
Kanaka-Rajatha-Akhanda-
Saraswathi Veena, inherited
from his father, the luminary
R.S.
Keshavamurthy, to whom
this was given to by Bakshi
Veena Subbanna. It is
decked with consecrated
(Agamoktha) images of
Goddesses Saraswati, Chamundeswari,
Nagaraja and
Krishna, thus transforming
it into a sacred shrine of
divine music.
Concert started with
"Ninnu Kori" (Varna - Mohana
- Ramanathapuram
Shrinivasa Iyengar). By simultaneously
resonating
different strings and notes,
he drew forth veera and
adbhuta rasas, the nature of
the construction demanded.
Ranjani (Ranjani Niranjani
- GNB) had exemplary
academic flavour: variety of
graces, including long, swift
glides and soft curly movements,
nurtured the emotional
contents in this
lyrics-oriented work. Further,
in Dikshitar's "Anandeshwarena",
feathery
touches to distinct, fine articulations
characteristic of
Anandabhairavi, fostering
sublime lyrics, elevated the
audience to contemplative
heights.
Raga-thaana-pallavi
(Charukeshi) was the finest.
Technically, it was an exquisite
interpretation
flashing wafts of melodic
airs (only tripping occasionally).
Creativity reigning,
elaboration of lyrics
("Neerajakshi Janani") was
packed with emotion.
Ghanapanchaka Ragas
formed fine matrix for developing
the swarakalpana
featuring smooth transitions.
"Visweshwara Darushan"
(Sindhubhairavi -
Swathi Tirunal) and "Odibarayya"
were other interesting
inclusions.
V. NAGARAJ
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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