End to musical drought?Jul 17th, 2009 | By editor | Category: City Culture, Music & Dance
The ‘slowdown syndrome’ that has affected the economy and the monsoon in the country seems to have affected the Carnatic music scene in the Capital too. Not many concerts were organised in recent times. But a revival of the music scene se ems to be in the offing. Organisations like India Habitat Centre, India International Centre and Gayathri Fine Arts came up with some concerts recently. While IHC and IIC featured local artistes in their programmes, Gayathri Fine Arts fielded outstation artistes.
Delhi’s young Anirudh Bharadwaj presented an invigorating flute recital at the IHC the other day. His close to 90-minute recital was also indicative of the hard work done by him in pursuit of this art. His presentation of the invocation piece on Lord Ganesa, “Shakthi Ganapatim”, a composition of Harikesanallur Muthaiah Bhagavatar in raga Nattai was impressive and contained creative swaraprastaras.
Patnam Subramania Iyer’s composition “Marivere” in raga Shanmukhapriya underwent detailed presentation, with Anirudh making a fine alap of the raga and presenting creative niraval and swara formats. Similarly, he presented in a detailed manner Tyagaraja’s “Intha soukhya” in the raga Kapi which was the main item of his recital. Sridhar provided good violin support. Kumbakonam N. Padmanabhan on the mridangam was supportive.
At IIC, though Snigdha Venkataramani’s presentation of various compositions was generally good, the eloquence in the creative aspects of concert presentation was missing in her recital. She brought out the emotive aspects of Purandara Dasa’s composition “Narayana” in the raga Sudhha Dhanyasi. She also presented Muthuswami Dikshitar’s composition “Sree Kantimatim” in raga Hemavati, which was the main item of her recital. V.S.K. Annadurai on the violin and V. Sankararaman on the mridangam provided Snigdha good support.
Elsewhere, at the Triveni auditorium, the Bangalore based Sumitra Nitin presented a memorable vocal recital during the 19th Annual Day celebrations of Gayathri Fine Arts. Sumitra excelled in both spheres of concert presentation, the kalpita (rendering compositions as learnt) and the manodharma (creative aspects like alap, niraval, swaraprastaras, etc.). Tyagaraja’s “Nadopasana” in the raga Begada was the focus of Sumitra’s recital. Her alap, niraval of a phrase during the charanam of the composition and the swara formats, particularly the finishing korvai, were rich in eloquence and creativity.
Singing Shyama Sastri’s “Nannubrova” in raga Lalita, she brought out the emotive aspects of the lyrics. Earlier, she also presented in a detailed manner, the Tamil composition “Parvati nayakane” in Shanmukhapriya. In her delineation, she brought out the complete essence of this raga. The usage of dhattu swaras in the finishing korvai was quite impressive. VSK Chakrapani on the violin and Kumbakonam N. Padmanabhan on the mridangam provided excellent support.
Harinarayanan’s ghatam remained virtually in the shadow of Padmanabhan’s mridangam, except briefly during the tani avartanam session. While Chakrapani’s delineation of ragas Shanmukhapriya and Begada were delightful, Padmanabhan and Harinarayanan played an enjoyable tani avartanam in Adi tala.