A spiritual conditioning, imparts a high sense of musical discipline to any classical musician. The music he produces bears the hallmark of that discipline in every syllable. These thoughts came to my mind on hearing the vocal concert of SR Veeraraghavan, senior disciple of Dr M Balamuralikrishna, when he sang at the Bharatiya Vidya Bhavan.
I admire the presentation of the vocalist, which is based purely on ‘Sampradaya’ tradition. The audience enjoyed the concert when he explored (Dharini Thelusa Konti) of Thyagaraja in the Raga Suddha Saveri and the interpretation of the kriti showed his depth in music, revealing the inviolability of the carnatic music after his gala opening (Thulasi Dala) of Thyagaraja with exuberance twained vinyasam at ‘Sarasi Ruha Punnaha’.
An elaborate Raga alapana of Sankarabharanam (Enthuku Betthala) of Thyagaraja revealed his uncanny ability to bring the immense scope for improvisation available in the raga, in an evolving tradition. His penchant to dwell in the ‘scalar’ details with manodharma was very evident.
When he rendered (Nava Mohana) the raga Manorama (akin to Raga Kamavardhini with two madyamas), a composition of his mentor, with his studiously developed style, meliorating the raga bhava with poise and modulations, his broader base of training is visible.
We are aware that the bava-laden renditions with sruthi alignment and singularly adoptable voice modulations are the hallmark of any established musician. The singer’s rendition (Sasivadhana) of Thyagaraja, in the raga Chandrajyothi, revealed his vidwat.
On the whole, the concert was cute and pleasing and his presentation brimming with bava and laya purity, indicating that if he explores his true potential, he would become one of the musicians to be reckoned.
Madipakkam Balakrishnan (violin) and Guru Raghavendra (mridangam) were quite homely, detailing the dimensions of the raga and rhythm of the kirthanas, with absolute facility.