KOLKATA ROUNDUP (Part 1) Carnatic carnival at Rasikhapriya

he latest in the chain of Carnatic soirees in Kolkata Twas the annual melodic ritual observed by Rasikhapriya. Having completed 20 glorious years in this metro, Rasikhapriya shifted base to Chennai. But under the inspiring stewardship of its secretary S. Kannan and his eminent violinist wife Vasantha Kannan, along with the support of their vocalist daughter K. Srividya, the famed organisation synonymous to classy Carnatic kutcheris, celebrated its 21st A. Kanyakumari (violin) and K.V. Prasad (mridangam) SHILPI SAMBHAMURTY anniversary with a grand itinerary spread over five days in the city of her introductory elaboration very sing raga Kambhoji elaborately joy last year and returned with even pleasing. She played excellent among several others presented greater enthusiasm this year with tanam, albeit following predictable during the concert and displayed his a six-day soiree (4-9 November) arithmetical patterns, but her experience in the kalpanaswarams, nd at Uttam Mancha for the 22 proficiency came to the fore when with many variations in the slow anniversary. This featured vocal she played the ragamalika-swarams tempo. Renukadevi, a rare kriti concerts on five days and only one and effortlessly presented varied of Muthuswami Dikshitar, was instrumental (violin) recital. rhythmic designs prior to an arresting rendered beautifully. Mullaivasal Exclusive violin tani avartanam played by mridanga Chandramouli and Akshay vidwan K.V. Prasad and khanjira Anantapadmanabhan offered Having participated in the most exponent K.V. Gopalakrishnan. wonderful support on the violin and prestigious classical music soirees mridangam respectively. of Kolkata (like ITC Sangeet Kanyakumari also played two out of Sammelan) as an accompanist, “ten ragas she has created”. One was On the second evening Manda veteran violinist A. Kanyakumari Anjanadri, a janya of Rasikhapriya. Sudharani gave a concert displaying is not new to this part of the world, The other raga Mahalakshmi, which innovative ideas. She selected blends Hamsadhwani and Vasanti, but this was her first solo concert Kharaharapriya as her main raga with was created inspired by the thought here and the tempo of the fourth day elaborate ragam-tanam-pallavi (Hare that ‘though there are several ragas was set right from the varnam in Rama Govinda Murare Mukunda named after Saraswati, Gauri and Natakurinji. Blending the expressions sauray) set to Chatusra jati Jhampa Narayani, none is dedicated to of soulful vocalism and the tala in khanda nadai. The tanam Lakshmi.’ And what a beauty it instrument’s virtuosity, her melody was sung beautifully to the inspired turned out to be! merrily danced from composition to accompaniment of mridangam. Her superb grip on the laya was evident. composition in different ragas and Vocals After singing Tyagaraja kritis in talas before and after her main piece th Sreevalli Devasenapatey in raga On 4 November, the festival was Kannadagaula and Poornachandrika, formally inaugurated by V. Shankar, Natabhairavi. she chose to sing Tamralochani in president, Sri Shanmukhananda Latangi (Balamuralikrishna) and later Superb control over gamakas of Fine Arts and Sangeetha Sabha, Mayamma (Ahiri, Adi, Syama Sastry) varied weights, fine embellishments Mumbai. He delivered a spirited with superb dexterity. Her voice steeped in perfect pitch of the speech, covering various aspects sounded very resonant and robust in notes and interesting harmony and of the art and artists. The inaugural the lower registers but could not do dialogue with the violin of her day featured celebrated vocalist justice to higher notes of the middle disciple-accompanist Rajeev made O.S. Thiagarajan. He chose to octave.

12 l SRUTI February 2015 Vijay Siva, on the following day, rendering Guruvayurappane appan sang a crisp alapana of Saranga and (Reetigaula, Adi) they took up raga Arunachalanatham, Muthuswami Todi for elaborate treatment and as Dikshitar’s kriti set to Roopakam. the main piece with Dachukovalena. In Hiranmayeem Lakshmim (Lalita, However, the niraval and swaram Roopakam), he chose to render the fell short in raga-bhava. The bhajan niraval and kalpanaswarams very and tillana as concluding items beautifully with the lyrics ‘Sangeeta were well sung. The huge potential vadya vinodini’. Apart from other of the brothers seems to border compositions in ragas Harikambhoji, on showmanship. Their father Kedaragaula, Suddha Hindolam, he Trichur Mohan was a great support sang Bhairavi elaborately by treating on the mridangam. They were ably Upacharamulanu, a masterpiece of supported by M. Satyanarayana Tyagaraja, and brought out the finer (violin) and S. Vengataramanan nuances of the raga, laya and vak- (khanjira). bhava with effortless ease. Conversely, a traditionally rich Special mention should be made of concert was offered by Malladi Vasantha Kannan SHILPI SAMBHAMURTY veteran violinist Vasantha Kannan’s Brothers as a grand finale to this accompaniment style that followed six-day music festival. The piece matched by S. Vengataramanan the vocalist like a shadow and de resistance was a captivating (khanjira). Dhanyasi. The duo gave a enhanced his creativity. She played Points to ponder a superb Bhairavi alapana. Her beautiful raga and song rendition experience was demonstrated in (Paradevata, Adi, Muthuswami While violinist Kanyakumari the niraval and kalpanaswarams Dikshitar) followed by lovely interacted with her listeners with in Saranga as well. Manoj Siva kalpanaswaram. They explored many contagious warmth so becoming (mridangam) and scintillating sancharas, bringing of an erudite musician who wishes K.V. Gopalakrishnan (khanjira) out the essence of the raga. They to reach out and educate even played a superb tani avartanam and also sang Needu charanamule the lay listeners and encourage offered perfect support for the entire (Simhendramadhyamam, Misra them to attend such concerts to concert. Chapu) with superb niraval and enjoy and learn in the process, thrilling laya patterns in the veteran vocalists like Vijay Siva Trichur Brothers (8th Nov) began kalpanaswaram. Their concluding displayed their inclination to remain with Matey malayadhwaja (Khamas, item was in Sindhubhairavi. immersed in music by shutting off Adi) and captivated the audience Violinist Mavuduru Satyanarayana communications with the listeners with their powerful voices which played a good Dhanyasi. K. Sai despite the fact that performers enhanced the beauty of the chosen Giridhar (mridangam) was cannot do without an admiring kritis. They sang the majestic full of energy and played a audience. Such aloofness alienates swarajati of Syama Sastry. After lively tani avartanam. He was equally especially those who are not familiar with Carnatic music and, moreover, Malladi Brothers SHILPI SAMBHAMURTY with the languages of the kritis. This applies even to those Tamil- Telugu speaking youngsters who fail to understand the rich lyrics of the compositions – the backbone of this genre, unlike Hindustani music and, therefore, miss out on the most vital and beautiful aspect of a Carnatic concert which encapsulates the traditional culture of India. Frankly, this era demands musicians who can both entertain and educate at once.

MEENA BANERJEE (to be continued)

13 l SRUTI February 2015