Veteran Ramachandran Astounding verve
Pushpa Kashinath presented veena recital at Gnanabharathi, Mysore, accompanied by G.S. Ramanujam (mridanga) and M.R. Manjunath (ghata).
Throughout the concert, she maintained uniform melodic tempo and set a picture, bright and lively. Somehow, it was also felt that most of the passages denoted premeditated measures, marginally overshadowing spontaneity.
Her control over the instrument left no doubt about her dedicated practice, which would not allow any wrong notes to infiltrate into the passages, irrespective of the pace she selected for her expressions. Attractively knit phrases complemented by fine graces, made her concert pleasing. In addition, her control over plucking rendered it inspiring.
Such merits favourably influenced compositions like "Lambodaram Avalambe" (Kamboji - Mysore Vasudevacharya), "Shri Swaminathaya" (Khamach - Muddusvami Dikshithar) and "Etijanmamidi" (Varali - Thyagaraja - an elaborate alapana preceding the lyrics not appended with passages of neraval or swarakalpana, left a mark of imbalance).
Short to moderately lengthy alapana-s introduced these lyrics, and the method of developing them comprised attractive passages appeared to have pre-designed only to be connected in different combinations for glittering impact. Judiciously employed tribhinna gamaka-s in combination with liberal usage of mandra sancharas aggrandised the special effects.
Dramatic climaxes featured raga-tana-pallavi in Bhairavi ("Kanchi Kamakshi"), which culminated in vigorous tani avarthana by the percussionists. ***
On the second day, Trichur Ramachandran sang, accompanied by Mysore Nagaraj (violin), B. Ravishankar (mridanga) and S. Manjunath (ghata).
The veteran, with astounding verve and the swiftness kept the audience spellbound. Nevertheless, scholarship overtook melodic experiences. This was particularly so when compositions like "Marivere Dikkevaru Ramayya" (Latangi-Patnam Subrahmanya Iyer) and "Brochevarevarura" (Khamach-Vasudevacharya) were considered.
Lyrical import, especially in Patnam's kriti demands a tone that is supplicating; and the raga Lathangi that embodies pensive mood warrants a delicate approach. In the present instance, the learned artiste took recourse in technically establishing the presentation than transforming into an absorbing musical piece.
The pattern of swarakalpana after an elaborate neraval at the pallavi did not conform to the plaintive mood, and to the contrary, trod a very different path of complexity and pyrotechnic. Though the lyrical sections of "Brochevarevarura" stood for the clarity and expected sentiments, the swaraprastara sections followed the same pattern as the previous mentioned one. Ragatana and pallavi mainly in Todi featured many strains truly absorbing, particularly while he was expanding the raga appending it with inspiring thana-s, developed in different stages, every step closely and meticulously complemented by the melody accompanist.
Strangely, the pallavi section, "Thathadhimitha dhidhiyani sadhashivudadenu", almost passed without leaving significant trail, a pallavi expatiation expected. Competence dawned in the swarakalpana sections which passed through Shahana, Bhowli and Behag, later to feature an interesting tani avarthana.
"Teliyaleru Rama" (Dhenuka - Thyagaraja), "Ranjani Niranjani" (Ranjani - GNB), "Radhasametha Krishna" (Yaman - Anai Vaidyanatha Iyer) and "Dharma Shravanavidetake" (Durga - Purandaradasa) constituted other numbers.


V. NAGARAJ
The Hindu
Bangalore Edition - Dt: 06-11-09