This is the second part of the Bharat Sangeeth Utsav that took place in Coimbatore recently. The first part of the review appeared last week.
Unbridled speed tends to cloud the quality of an artist’s music. If music is to awaken its higher noble purpose, the artist’s elegant expression gains sparkle and substance. Kunnakudi Balamuralikrishna’s recital failed to conform to these aspects. After the rendition of ‘Evaribodha,’ his raga vinyasams of Simhendramadhyamam for the kriti, ‘Ninne Nammithi’ and Khambodi for ‘Maa Janaki’ were in such a high decibel that they were bereft of any gana naya. Music should be spontaneous and it should appeal to the finer instincts of the listeners. Harikumar’s (mridangam) ebullient play matched the vocalist’s style. Sundareswaran’s bowing showed his penchant for bhava. His dulcet notes showed a sensitive combination of the finer aspects sending the rasikas to dizzy heights. The renditions of the kritis such as ‘Maa Janaki’ and ‘Sree Kamakshi Katakshi’ were disappointing.
Roller-coaster sancharas in raga vinyasams and aggressive distorted articulation of the sahitya in high decibel mar the quality of a concert. Though Abishek Raghuram has all the ingredients of an accomplished singer, his performance was marred by an acrobatic streak in raga delineations. His manodharma and vidwat failed to create an impact. ‘Bhavanutha’ (Mohanam) was followed by ‘Koluvaiyunnade’ with a spate of swaras. Though the mapping of the contours of Nattakurinji for the kriti, ‘Kandhan Seyal’ and Purvikalyani for the kriti, ‘Paramapaavana Vimochana’ started off well they met with a disastrous end without making an impact on the rasikas. Akkarai Subhalakshmi proved her mettle in her violin accompaniment. Anantakrishnan (mridangam) was in charge of the laya wing.
Unnikrishnan’s balanced approach was evident in his rendition of ‘Deva Deva Kalayamite’ (Mayamalavagowla) followed by ‘Bantureethi’ (Hamsanadham). His Bahudari delineation for the kriti, ‘Sadanandha Thaandavam’ interspersed with swaras was an aural treat. Bhogendrasayinam’ (Kuntalavarali) had key signature phrases. ‘Aadamodi Galade’ (Charukesi) highlighted the raga’s distinct flavour. ‘Naan Oru Vilayattu Bommaiya’ was handled with dexterity. Sriram (violin) etched the beauty of the ragas splendidly.
Rhythmic spontaneity was evident in the percussive component provided by Harikumar (mridangam) and Sivaramakrishnan (ghatam) that included a pulsating thani.
The performance by Sikkil Gurucharan and Anil Srinivasan showcased their artistry in carrying music to the masses by enrolling 150 Rhapsody children drawn from Sree Gopalnaidu Childrens School, Advaith, Samskara Academy Vedanth, etc. The children rendered ‘Maithreem Bhajatha,’ popularised by M.S., as a fitting finale to the Sangeeth Utsav.
As news about Balamuralikrishna’s sudden demise was announced, Gurucharan and Anil Srinivasan rendered songs popularised by the veteran that included ‘Pibare Ramarasam,’ ‘Mathe Malayadhwaja,’ ‘Petra Thaai Thannai Magan Marandhalum,’ Krishnakarnamrutham and Gita Govinda.
