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Team young and enterprising


									  2         MUSIC SEASON                                                                                                                        THE HINDU             FRIDAY, DECEMBER 26, 2008

Team young and enterprising
Talent, skill and
creativity — this
bunch was not
lacking in anything.

      oung vocalist M.R. Subrama-
      niam has a soft and pliant voice.
      His opening song ‘Jaya Jaya Ja-
      nakikantha’ in Nattai, as well as
the succeeding ‘Deva Deva Jagadees-
wara’ in Purvikalyani revealed this.
His alapana of Karnataka Kapi was
brief for the Swati Tirunal kriti ‘Su-
masayaka’ but was emotive and evo-
cative. The unhurried pace in
handling this kriti lent both majesty
and poise.
   Subramaniam’s alapana of Natta-
kurinji was elaborate, perhaps be-
cause it was the main piece of his
concert. His pronunciation while
rendering the kritis is very clear and
he does not mumble, even in fast           ENCHANTING: (Clockwise from top) Manjari Chandran Ramesh, Savita Narasimhan and Abishek Raghuram. PHOTOS: V. GANESAN
passages. He rendered the kriti ‘Am-
ba Pahi Janani Santhatham,’ taking         so be another strong contender to       Deva’ (Neelambari), “I am dedicat-        Thodi in all its grandeur, in his        unayaka’ of Tyagaraja in Hamsadh-
the line ‘Kamaniya Kama Rupe’ for          be shifted to the next slot!            ing this song to my friend who came       afternoon concert. It looked as          wani she kept up the mood of the
niraval and followed it by swarakal-          Manjari Chandran Ramesh’s            from Bangalore yesterday.” Rather         though he wanted to explore the          lively concert and there was never a
pana. ‘Hey Govinda Hey Gopala’ in          veena recital began with Saveri raga    frivolous, one thought.                   raga in all its majesty before pre-      dull moment in her presentation. A
Desh was soothing as a closing song.       varnam ‘Sarasooda’ and she went            Abhishek’s alapana of Mohanam          senting the kriti, ’Karthikeya Gan-      very short alapana of Pantuvarali
Mridangam vidwan A.V. Manikan-             on to play a very short Kanada for      was of a high order. He brought out       geya Gauri Thanaya’ of Papanasam         followed by a brisk paced ’Vadera
dan’s accompaniment was good and           the kriti ‘Varasiddhi Vinayakam.’       all the salient features of the raga in   Sivan. Both the ’gambeeryam’ of the      Deyvamu’ of Tyagaraja with mini-
he played a lively thani. Violinist B.     Her alapana in Hindolam for ‘Mara-      his presentation. He paused for a         raga and the richness of the compo-      mal swaraprasthara had its own
Ananthakrishnan too was another            manan’ of Papanasam Sivan was           few seconds during his alapanas and       sition well suited Sandeep’s sono-       charm. The Chandrajyoti kriti, ’Ba-
competent supporter during niraval         moderate as it failed to produce the    niravals often, before bringing out       rous voice. His swarakalpanas were       gaya Nayya’ again from Tyagaraja
and swaras.                                enchanting quality of the raga.         the stunning sangatis. This, in a         also very imaginative and were           repertoire, was soberly. For the
   Sikkil Gurucharan had an ex-            However, she made it up in her          way, showed that he is a thinking         praiseworthy. He positioned this as      kriti of Muthuswamy Dikshitar’s
cellent team to support him — Ava-         swarasprasthara, which was de-          musician, trying to present cerebral      the main piece before the ’Thani’.       ’Ranganayakam,’ Savita sang a brief
neeswaram Vinu for violin and H.S.         lightful.                               music, when he could easily touch            To begin the concert, however, he     Nayaki alapana as a prelude. Her
Sudhindra for mridangam from start            Manjari could have played a short    the heart of the rasika with his          chose the varnam ’Karunimpa’ in          alapana of Saveri was a brilliant
to finish. Gurucharan scored strong         alapana of Durbar before embark-        pleasing melody.                          Sahana and moved on to the Moha-         one, as her manodharma helped her
points in all the three areas like, ala-   ing on the kriti ‘Yochana,’ which          Midway through the concert,            na raga kriti ’Maruvukudaya’ of          scale heights. She rightly chose the
pana, niraval and swarakalpana and         could have added a little more          Abhishek took the Tamizh-path for         Garbapurivasar. Sandeep did not          song ’Muruga Muruga Enral’ of Pe-
this made his concert memorable.           weight to her performance. She          the rest and sang ‘Kapali’ of Papa-       embark on niraval, but fully com-        riyasami Thooran, to remind the
   Gurucharan has a slightly husky         played Bhairavi alapana touching        nasam Sivan, made immortal by             pensated with his excellent swa-         audience of the composer’s centen-
voice that has a special charm and         the contours of the raga and played     Madurai Mani Iyer. After a brilliant      raprasthara.       Alapana         for   ary this year.
the moment he completes the alapa-         a brief tanam too, for ‘Neepada-        thani by A. Anand, Abhishek sprang        Devamanohari song ’Evarikai Avat-           Being the month of Margazhi, she
na, the entire audience is enrap-          mule,’ a composition of Patnam          a surprise with another Tamizh            ara’ of Tyagaraja was just in right      rendered ’ Pullinvai Eenranai’ an
tured. This was true when he sang          Subramania Iyer. Ashwin Sridha-         ragamalikai, ‘En Thaayum Enak-            proportion. A brief but lilting alapa-   Andal pasuram before launching an
Ritigowlai raga alapana for Swati Ti-      ran’s percussion support was good       karul Thanthaiyum’ and yet anoth-         na of Nalinakanti followed and he        elaborate Bhairavi. It was enchant-
runal’s ‘Paripalayamam,’ after the         throughout and particularly in tha-     er Papanasam Sivan’s Tamizh piece         sang the Swati Tirunal kriti, ’Palaya    ing, to say the least. She avoided
invocation-like ‘Siddhi Vinayakam’         ni.                                     in Kapi, ‘Sodhanai Sumaikku.’             Sudha’. Here too, Sandeep sang only      RTP but sang ’Nee Paadamule’ of
in Mohanakalyani. Raga Madhyama-              Abhishek Raghuram revealed              Finding that he was still left with    the swarakalpana but that made an        Patnam Subramania Iyer, without
vati for ‘Rama Katha Sudha’ of Tyag-       in his afternoon concert that he is a   five minutes, Abhishek presented a         impact. N.S. Chidambaram’s raga-         niraval but only with swarakalpana,
araja was also equally catchy.             potential vidwan. His manodharma        moving Tamizh viruttam ‘Alayum            maligai ’Neethaan Thunai’ with a         perhaps for want of time. Savita
   For the kriti ‘Paripalayamam,’ he       coupled with a steady and strong        Maname Ariyayo.’                          chain of ragas Neelambari, Vasntha       Narasimhan sang in Sindubhairavi
eschewed niraval, but took up swa-         voice, make him a singer of a differ-      Charumathi Raghuraman, the             Bhairavi, Gaurimanohari, Saraswa-        for the lines ’Kaadalagi Kasinthu’
raprasthara in right earnest. Howev-       ent ilk. His diction, whatever the      young violinist who provided ac-          ti, Sriranjani, Mohanakalyani, Dur-      from Sambandar’s Thevaram evok-
er, for ‘Ramakatha,’ there was             language of the sahityam, is very       companiment showed she too could          ga and Jothiswaroopini served as         ing guesses from the audience that
niraval for the line ‘Bamamani Jana-       clear. He began his recital with        meet the vocalist’s challenges ad-        the finale of the concert.                she would end with ’Chandrasekara
ki Sowmitri’ and Gurucharan joy-           Tyagaraja’s Poornachandrika kriti       mirably.                                     The violinist C.V. Krishnasubra-      Eesa’ but she switched over quickly
ously went about it.                       ‘Palukavemi Na Deivama’ and                If Abhishek was at his powerful        manian was found wanting in alapa-       to Behag to render an alluring ’’rak-
   Koteeswara Iyer’s ‘Ganamudha            moved on to Patnam Subramania           best in alapana and swarakalpana in       nas and mridangam vidwan S.J.            kam Varamal Ponadenna Kara-
Bhanam’ in Jothiswarupini was an-          Iyer’s ‘Marivere Dikkevaru’ in La-      Mohanam, Charumathi’s versions            Arjun Ganesh offered Sandeep the         nam?’ of Gopalakrishna Bharati.
other scintillating kriti that Guruch-     tangi. The niraval ‘Tharaloki Ni        were sedate and scintillating. A.         required support apart from playing         Savita had the complete support
aran rendered to the delight of the        Saatti’ was treated with briga-laden    Anand played with lot of antici-          an impressive thani.                     from the violin accompaniment of
audience. ‘Senthanai Senkottu Vela-        sangatis.                               pation and the ‘naadham’ of his              That Savita Narasimhan has a          Nishant Chandran who was good at
nai’ was the only Tamizh song heard           It disturbed the solemnity as he     mridangam was unique.                     captivating voice is a fact and she      alapana and swaraprasthara and the
at the close in Gurucharan’s concert.      announced in the middle of render-         The young Sandeep Narayanan            uses this to her full advantage.         percussion assistance of Manakkal
Looks like this young man would al-        ing the song ‘Madhava Maamava           excelled in delineating the raga          Right from her opening kriti ’Ragh-      Sriram was perfect.

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