Expressing the splendour of music

BANGALORE: Veteran vocalist RK Srikanthan was his usual self and unveiled the solidity of classicism and tradition of Carnatic music in his recital held at the Gayana Samaja for M A Narasimhachar Music Foundation. With his concert eloquently supported by with the great titans of Carnatic music M. Chandrasekharan (violin), T K Murthy (mridanga) and L Bheemachar (morsing), the 10 day musical extravaganza in connection with the tenth anniversary of the MANM Foundation took off to a grand start.Young B C Manjunath’s second mridanga support was another added attraction. RKS’ son Ramakanth also lent his voice. All the four veterans were honoured on the occasion. The elegant stage decor deserves a special mention.The melodic drafts were marked by a more logical and comprehensive treatment of the notes. Srikanthan sang in a bold and melodious voice which retained its round, modulated tenor in all pitches. He maintained his voice’s buoyant and sunny character throughout.Though the effect of aging crept in on a couple of occasion the classical excellence, a proper imagination and a proper apprehension of the Carnatic discipline gave practical expression to the splendor and loftiness of the great musical system. Launching the recital with a Patnam Hamsadhwani varna the father-son singers beautified the Dikshitar’s Srimahaganapathi ravatumam(Gowla) with chittaiswaras and swaras at Ravisahasra. Amba Mahavani (Saraswathimanohari, Muthaiah Bhagavatar, with chittaiswaras) was followed by a perceptive alapana in Poorvi Kalyani (Deva Deva  Jagadeeshwara, Swati Tirunal).Another Patnam krithi in Kannada raga Itakante kavalana was crisp.  A detailed Vachaspathi for the most familiar Thyagaraja krithi Kanthajudu was spread out with neraval at Alanaadu and short swaraprastara.Laudable performing assetsThe road to stardom seems to be full of flowers and glory to the performer of musical discourse (Sangeethopakhyana) Vishakha Hari and she is careering through it in a manner to thrill the hearts of the conservatives and also the connoisseurs. With the right classical perspective it is good to watch her avoiding effervescence totally. In her discourse on Krishna leelas at the same venue on Sunday last she achieved the task almost to the fullest extent. Though she could not cover all the leelas of Krishna she drew the attention of the audience by using profusely the Kannada Ugabhogas and padas of the Haridasas.There were a good number of krithis by the great Carnatic Vaggeyakaras in Telugu and Tamil languages and Sanskrit shlokas too. In the process, she displayed a laudable combination of performing assets which of course included her bold, melodious and nimbly expressive tone and her extremely pleasant stage presence.Not only did she but also the packed audience enjoyed the impressive accompaniment provided by Charulatha Ramanujam(violin), H.S.Sudheendra (mridanga) and Sukanya Ramgopal(ghata). Vishakha kept her accompanists lively with repeated musical dialogues between them. Her possession of both assertive vidwath and delicate rasa gnana got exposed when she elaborated upon the theme. Her classical punch and satirical pinches were always spicy.Striking vocalismVeteran singer-bureaucrat Pandit Ulhas Telang regaled the audience at the Gayana Samaja with his renditions in a concert arranged in connection with the 84th anniversary of the famed Saraswathi Sangeetha Vidyalaya led by the wellknown ubhayagana visharade Dr. Shyamal G. Bhave. Earlier, she herself had enthralled the audience with her powerful and sweet singing.With Ravindra Katoti(harmonium) and Viswanath Nakod(tabla) as his able sidemen he sang in a bold and melodious voice which retained its round, modulated tenor in all pitches. He never held back his voice. A false note was out of question in his vocalism. He was striking as he descended into the base as also in the construction and carriage of sargam and tans. One did get to know the space of his ideas in the delineation of Maru Behag raga(two compositions). While his alap was replete with all the vocal graces and a fine use of the ‘kana’ his tans articulated with the full power and glow of his voice were particularly attractive.