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Decorative style
WHAT MAKES singing styles different is the way an artiste internalises the charms of melody. For some it may be weight of vidwat and for some others contrivance of the voice. The former lays stress on solidity of presentation and the latter takes whispering soft steps.
The former seeks tonal depths and the latter tonal tints. The former revels in serenity, the latter in allures. The former is driven by intuitive perception; the latter by felicitous breeziness.
The former tries to make his music compelling, the latter to make it attractive.
The former elevates a rasika, the latter titillates.
As of today, it is rather difficult to say which, to an ordinary rasika, provides a thrilling experience. For all practical purposes, except in the case of a few, music has travelled from the former to the latter.
Enhanced by a splash of decoratively embroidered style, Ranjani and Gayatri, in their recital for Sri Krishna Gana Sabha in the Gokulashtami series, negotiated the delicate curvatures of Sriranjani, Kalyani and Saveri alapanas with froth-like lyricism entertainingly effective. Swiftness dictated the course of their creative instincts to surface. The contours of the ragas stood out in the incredible arrays of crammed speedy passages in the tara sthayi.
The song list included — "Etula Brothuvo" (Chakravakam), "Bhuvinidaasudane" (Sriranjani), "Biranavara" (Kalayani) and Saveri ragam, tanam and pallavi.
B. U. Ganesh Prasad, on the violin, saw to it that his version of the ragas glistened with elegant sancharas.
There was deep delicacy in the way he built up the ragas. Arun Prakash's (mridangam) play was animated by sensitive beats. Guru Prasad was the ghatam artiste.
Energetic
T. M. Krishna, in his concerts, provides a choice to his listeners — either to get lost in his abhinaya that puts to shame Balasaraswathy or to enjoy his musical exposition, well qualified in both.
Over the years, he has developed the rare combination of a melodic style with performing vigour. He is a musician who puts to severe test the elasticity of a raga to its snapping point.
His choice in the Krishna Gana Sabha recital was Todi, wherein maze-like sancharas were woven with hair-pin bends and twists like the ghat road in Tirumalai.
His energetic voice defined the course of Todi with glimpses of his acute and intense manodharma expressed with clarity. The kritana was "Kaddanu Vaariki" with neraval and swaraprastharas for the line, "Niddura Niraaka Rinchi" which rolled out in hot concentric pursuits.
T. M. Krishna is an impartial artiste. He saw to it that the finale of neraval and swaras were exactly as long as the alapana.
In this genre, Varadarajan (violin) traversed the road laid by Krishna observing the guiding signboards set by him. Two other heart-warming items were "Lekana Ninnu" (Asaveri) and "Brovavamma" (Maanji) Guruvayoor Dorai (mridangam) looked more like an admiring fan than an active participant till his tani with S. V. Ramani (ghatam).
SVK
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