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Replete with reposeful ingredients
A. KANYAKUMARI GAVE a sweet recital on the violin for Sri Thyaga Brahma Gana Sabah. Assisted by her disciple, Embar Kannan, she presented a concert that was replete with reposeful ingredients.
The artistes projected an attractive raga profile of Andholika as preface to their pleasing presentation of the piece, ``Ragasudha'' of Thyagaraja. The piece, ``Venkatasaila'' in Hamirkalyani was played by them in a form exuberant with the raga's nuances. The features of Ritigowlai were depicted lucidly through the piece, ``Janani'' of Subbaraya Sastri. Kirvani was given a dainty treatment with exquisite swara sequences.
The softness of K. V. Prasad's tekhas on the mridangam enhanced the recital's refreshing quality.
Practice shows
Young V. Sankaranarayanan impressed the audience with his skill to project the facets of Carnatic music powerfully in a style aligned on the sruthi. That he has developed his lakshya by listening and painstaking practice could be discerned in his dexterous delineation of ragas, Ramapriya and Nattakurinji. The pieces, ``Korina Varamu'' (Patnam Subramaniya Iyer) and ``Manasuvishaya'' (Tyagaraja) in these ragas were rendered by him deftly in a fluent style of vocal music. The passages of neraval and swaras had pretty sequences.
S. Ramakrishnan's tonally bright and tuneful accompaniment on the violin attracted attention. N. G. Ravi (mridangam) and K.V.R.S. Mani (kanjira) lent lucid percussion support to the recital.
Scrupulous sruthi alignment
Aligning his vocal recital scrupulously on the sruthi, Maharajapuram S. Srinivasan presented his package delightfully with a good measure of classical substance. The singer traced Gangeyabhushani in a style of melodic raga representation. His execution of the piece, ``Evvare Ramaiah'' of Tyagaraja was at a relaxed pace suitable to reflect the song's intense appeal. The vocalist's description of Kalyani was sweet with sequentially interesting rhrases. Srinivasan concluded it with a dignified display of the piece, ``Nidhichalasukhama''.
M. R. Gopinath's accompaniment on the violin was mellow. Thanjavur S. Subramaniam (mridangam) and Udipi Balakrishnan (ghatam) gave enjoyable percussion support.
Promising
Young Sikkil C. Gurucharan showed promise in his vocal recital. Born and brought up in a family of noted musicians and artistes, he sang in a convincing style. He exhibited his imaginative skill through a compact dissertation of Mayamalavagowlai. "Thulasidalamu" of Tyagaraja had precise swara formats.
The vocalist's relaxed presentation of the piece, ``Pahijagajjanani'' (vachaspathi) was preceded by an enjoyable raga essay, illustrative of his grasp of the raga's graceful features. The piece, "Mahadeva Siva Sambho" (Revathi) was delivered reflecting its meditative mood.
Young Nagai Sriram (violin) and K. V. Gopalakrishnan (mridangam) accompanied the recital with reassurance.
Warm and comfortable
The recital of young Valivalam R. S. Venkataraman attested to the rigour of his training in Carnatic music. He sang with concentration in a warm and comfortable style. The vocalist's skilful elaboration of Kirvani followed by the Arutpa, Aruljyothi of Vadalur Ramalinga Swamigal and his enticing execution of the Tamil javali, "Manamalaranindu Maiyal Konden" of Thanjavur Sankara Iyer in Surati evoked appreciative listening.
Sivakami Narayanan (violin) and Ambattur Babu (mridangam) provided adequate accompaniment.
Compact raga sketches
Padma Krishnan's vocal recital was of a refreshing kind. Planning the contents of her recital well and committing herself to thoroughly rehearsed rendition of the kritis, she drew admiration as a disciplined singer. The pieces, Muruga (Saveri) and Evarimata (Kambodi) were presented with classical force. The tidiness of the vocalist's delivery of swara texts in the phase of Kambodi deserves praise.
Srilakshmi Venkataramani (violin) played Saveri neatly. N. Ramakrishnan (mridangam) and Ganesan (morsing) offered affable metrical support.
R.V.
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