There’s more to them than meets the eye - The New Indian Express

There’s more to them than meets the eye

Published: 05th November 2012 02:05 PM

Last Updated: 05th November 2012 02:05 PM

On the second day of the music conference held in connection with the official launch of the Sangeetha Prathishthana (music federation),seasoned flautist father-son-duo, B K Ananthram and Amith Nadig presented a delectable flute duet at Sri Rama Mandira, Malleswaram. They perform together regularly and now they are not just masters of the flute but they have been masters of the art of presentation too. Their amazing breath-control and pitch never waivered. That they are already comfortably settled into the flute repertoire was evident at every stage of their concert. The recital opened with a weighty Bhairavi atatala varna (Veeriboni). Raghu nayaka (Hamsadhwani) was worked fairly well with energetic swaras. A crisp and melodious Thyagaraja’s Evarani nirnayinchira (Devamrithavarshini) was followed by a spirited Nagaswaravali. Amith’s Lathangi version for Patnam’s Marivere was vivacious and played with agility and sweetness throughout. Both of them shared neraval and swaras and the transcription was a better match for their capabilities.

They are a study in contrasts: Amith Nadig is quite animated and plays with a strong personality; Ananthram quietly plays with subtle expression. This arrangement worked best of all, with both players entering wholeheartedly into the graceful, exuberant waltz that opens the piece; the warm, seductive flute tune in the slow movement; and the quick, sly, pyrotechnical finale in the swaras. Ananthram’s Keeravani for Thyagaraja’s Kaligiyuntegada had sophistication and panache. They passed musical phrases to one another at a fair tempo and with a good deal of full-bodied harmony. The conversational phrasing was executed with vitality and a couple of times it seemed as though the melody could have been given more prominence. The impressive ornamentation and fast fingers which ran through the pieces provided a triumphant finale for the swaraprasthara.

The flautists received an equally outstanding and sweet support from the young violinist H.M.Smitha. M T Rajakesari’s sprightly mridanga guarded and bolstered a strong laya. M Gururaj (morsing) was a strong collaborator.

Sustaining the audience interest: The Suswaralaya College of Music headed by a versatile mridangist H.S.Sudheendra celebrated its 13th anniversary with a four day music festival at Sri Rama Lalithakala Mandira auditorium. Facile flute maestro S A Shashidhar was conferred upon with the title of Swaralaya Shrunga. The modified sixth edition of the Directory of Karnatak Musicians was released on the occasion. Accomplished vocalist M S Sheela released the audio and CD book on Sulabhavallavo Mahaananda — Mundiges of Haridasas sung by different talented singers. Another very important audio CD and book on Navarathna krithis of Sri Purandaradasaru was also released.

On the second day (Friday) of the festival, seasoned singer-scholar Dr Hamsini Nagendra  presented the most satisfying concert encompassing a great deal of content set out in a substantial structure. It is noteworthy that she recently presided over the young musicians’ conference of the Karnataka Ganakala Parishath held at Tumkur and she was honoured with the title of Gana Kala Sri.  She is an adept researcher and brought out very interesting CDs of her vocal music.

While rendering the alapana, krithi and swaras she instantly created a sense of atmosphere by slowly working through the melody and getting maximum impact from each note she sang and sustained the audience interest. Singing of Sakalagrahabala neene (Athana) with a short ragalapana was ear warming. A demanding Shyamasastry krithi Nannu brova Lalitha (one of the Meenakshi navarathnamala krithis, Lalitha raga) reflected a mature singer.  We were treated to a detailed Kalyani  for Etavunnara (Thyagaraja) which depicted her confidently mastered artistry. The neraval at Seetha Gowri and kalpanaswara in two speeds at two edduppus were a connoisseurs’ delight. Bega baaro (Maand raga, Vadiraja) had an emotional intensity. The short and sweet raga, tana and pallavi in Bhairavi (Chaturdasha Bhuvanaadheesha Kavikotisankaasha, chaturashra roopakatala) added to an already convincing performance. The pallavi line was delineated in different kaalaas and nadais. It was crowned with a ragamalika swaravinyasa comprising of Behag, Kapi, Ranjani and Revathi ragas. The concert benefited from the appropriate accompaniments provided by Charulatha Ramanujam(violin), Kallidaikurichi Shivakumar (mridanga) and M Gururaj(morsing) who inspired the vocalist to successfully deliver an ambitious and varied programme.

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