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Majestic notes

Prashanth's rendition was marked by high acumen



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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