Music ensembles mainly comprising of laya instruments are more enticing when there is a viable balance of textures and timbres in them and when there is an ideal interplay between the members of the ensemble. The participating musicians must work as equal individuals and also as part of a harmonious whole. If this is done, the concert would be an acoustically and artistically enthralling experience.
Recently, young and talented flautist L V Mukund, B Raghuram (violin), Chandramowli (mridanga and konnokkol), Dhruvaraj (mridanga), ASN Swamy (khanjari), Krishnamurthy (pakhawaj), Srisyla (ghata), Anur Ananthakrishnasharma (tabla), Arunkumar (drums), Bhagyalakshmi Krishna (morsing), Bhaskar (dolu), Kartik Mani (rhythmpads), Somasekhar Jois (konnokkol) and Sridhara (dholak) were at the helm of affairs, playing superbly during the percussion ensemble held at Gayana Samaja on the second day of the annual 32nd Taalavadyotsava under the auspices of the Percussive Arts Centre.
Sunaada Vadya Vaibhava was directed by veteran mridangist B K Chandramowli and led by Mukund. There was musical coherence between the flautist, violinist and the rhythmic instrumentalists.
The concert began with the Bhairavi atatala varna rendered in two speeds. A short alapana in Hamsadhwani by Mukund and Raghuram augured well for the rendition of Gajavadana beduve.
Presentation of Marivere (Reetigowla) and Enthamuddo (Bindumalini) made the concert a success.
The prime item of the evening was the delineation of a pallavi in vilamba aditala. The pallavi was rendered in three kaalaas and trishra was done in each kaala ultimately leading to a crowning teermana. The laya vinyasa -- the core of the ensemble -- was vibrant. There was a keen sense of intimacy among the instrumentalists and individual expression also often got exposed. Here they demonstrated what can also be gained in the process. Though a small orchestra, their performance was a powerful one.
Picture of ease
A seasoned mridangist turned vocalist and composer Tirumale Srinivas, popularly known as Chami in the music circle, captivated the audience on the first day of the Taalavadyotsava-2013 here. His powerful music was well projected. Srinivas wove a complex yet interesting and enjoyable rhythmic mesh around his presentation. The agenda of his cutcheri was marked by an intelligent choice of compositions one after another.
Magnificently accompanied by Mattur R Srinidhi (violin), M T Rajakesari (mridanga) and B N Chandramowli (khanjari), his recital opened with a taut singing of Ponnaiah Pillai’s demanding atatala varna in Kamavardhini raga. A rare Dasara pada by Venkatavitthala Bhujaga Bhushana (Kedara raga) was beautified by swaras. The vocalist rightly emphasised the bhava, with slow pace and the clarity of lyrics while rendering Dikshitar’s Hiranmayeem Lakshmim (Lalitha raga). He dealt the alapana of Reetigowla raga with ease. The vital positions of the raga endeared the rasikas. Swati Tirunal’s Pari paalaya maam was ornamented with scholarly kalpanaswaras.
A quaint raga Naganandini and an equally atypical krithi by Thyagaraja Sattaleni dinamu was delightful. The main exposition of the recital came in the form of a raga tana and pallavi set to Dharmavathi raga. The succinct alapana and impressive tana was followed by the pallavi Janaka raga Dharmavathi jeeyathe sati bound in khanda triputa tala.
He was brilliant in the ragamalika swaravinyasa which had four janya ragas of Dharmavathi (Ranjini, Hamsanada, Madhuvanthi and Shivaranjini). His rich baritone voice potrayed his creativity, clear enunciation and inventive phrasing.
Threaded to faultless technique and professional confidence, Srinivas’ recital had all the right ingredients for superb vocalisation.
Spirited Bharatanatyam
Young and enthusiastic practitioner of Bharatanatyam, Divya Ramesh of Singapore regaled the lovers of dance at the Seva Sadana, Malleshwaram with her spirited and flawless exhibition of talent. She is the proud disciple of Guru Minal Prabhu of Bengaluru and an expert exponent of Bharatanatya Gayathri Sriram of Singapore. She gave a creditable account of her grasp of bhava and laya.
Inspiringly supported by her Gurus Minal Prabhu and Gayathri Sriram (nattuvanga), Balasubramanya Sharma (vocal), Dayakar (violin), Vivek (flute) and Harsha Samaga (mridanga), she came out with flying colours in the demanding opening Mallari (Gambheera Nata). Her art of story telling was meaningfully enriched by a refined abhinaya as was evident in the portrayal of Lord Ganesha’s tale on the basis of Gajavadana karuna sadana (Sriranjini).
The ragamalika varna Neela Megha Shyama in Kannada not only surprised me but also projected Divya’s artistic and technical abilities. The varna addressed to Lord Krishna has the nayika beseeching her Lord to accept her.
Sharma’s excellent singing made Divya’s abhinaya more captivating. The dancer’s understanding of the lyrics and the communication of varying bhavas and navarasas was of a high order.
The Tamil pada Natana manohara was beautifully explored by Divya. She enacted the various forms of Lord Shiva like Gangadhara, Ardhanareeshwara and Neelakantha with expertise.
The depiction of his embodiment in Sapta Swaras and Panchabhootas drew special attention.
Before concluding with a Poornachandirka tillana, she showcased her talent in the delineation of Valli kanavan perai and Mogadochi pilachedu (Shahana).