Bellows are back
|
These days, the harmonium is back in the news. Ramdas’s recital in Mysore enchanted the audience
|
GENTLE Ramdas elicited subtle shrutis and specific gamakas
Ramdas’s harmonium concert arranged by Ganabharathi appealed to the audience, and at the same time, satisfied a general curiosity as to how a solo harmonium concert would have you rapt in attention, at a time when the instrument is losing its popularity. Dayakar (violin) and Ravi (mridanga) accompanied the artiste.
An appreciable control over the bellows, the keys elicited subtle shrutis and specific gamakas, in spite of inherent technical limitations the instrument carried, in the context of Carnatic classical music.
Emphasis on the lyrics in itself was quite sufficient for the success, as far as an accommodative listener was concerned. In “Sarasuda” (Varna – Saveri – Patnam Subrahmanya Iyer), he executed gamakas like kampitha (vibratos), leena (merging), and andolitha (swing), drawing imaginative support from the violinist. With this, the expected relish, of a submission tone, evolved to the best satisfaction of the audience.
Athana (“Shri Mahaganapathim”, Jayachamaraja Wadiyar) had dramatic mattu in both the alapana and the swaraprastara passages. Basic layout was almost similar in “Ganamurthe” (Gaanamurthi - Thyagaraja) and “Sudhamayi Sudhanidhi” (Amrithavarshini – Muthaiah Bhagavathar).The alapana in Amrithavarshini carried shades of western orchestration in the lower octaves.
He poured all his expertise into “Pakkala” (Karaharapriya - Thyagaraja): dhaatu swara prayogas, swift arohana combined with avarohana gamakas and other embellishments like sphuritha enriched the whole presentation.
Nevertheless, the learned artiste could have explored the instrument to bring in attractive special effects to re-establish the lost glory of the instrument.
****
Vrinda Acharya sang at Shruthimanjari Pratishtana accompanied by Sushruth Bharadwaj (violin), G.S. Ramanujan (mridanga) and V.S. Ramesh (ghata). The young artiste commenced with a varna (Yeranapai – thodi – Patnam Subrahmanya Iyer) followed by “Shri Mahaganapathe” (Abhogi - N.S. Ramachandra Rao), “Madhava” (Kalyani - Oothukadu Venkatasubbayya) and “Dangurava Sarirayya” (Vasantha - Purandaradasa) in quick succession. The overall impression, hurried progressions, and the result - obscured lyrics.
On the positive aspects, she exhibited remarkable adaptability and versatility too. Respecting the suggestive requests from scholarly elders, she at once transformed the hitherto bleak picture into a bright melodic experience in “Sheshachala Nayakam” – Varali - Muthuswamy Dikshitar).
She expanded Varali dexterously manoeuvring through intricate, but melodic sancharas with strict adherence to shruthi. Clear accents, distinct pauses, meaningful neraval (at “Aravinda Nayana”) and decorative swaraprastara rendered the Sanskrit composition comprehendible, meaningful and pleasing.
Vrinda could have elaborated more on either Madhyamavathi (“Palinchu Kamakshi” - Shyama Shastri) or Raga-taana-pallavi (“Gopika Manohara” in Kambhoji). In the present instance, she had to squeeze the RTP into the limited time left over. The sequel was insufficient scope for her scholarship to expand to its full potential.
Young violinist’s composure and involvement (creating melody in every curve), and likewise, both the experienced percussionists’ propriety collectively increased the overall acceptability.
V. NAGARAJ
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
