Pleasing quartet
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Umayalpuram
K Sivaraman |
The classical instrument ensemble K Bhaskaran (flute), Sangeetha Kalanidhi Umayalpuram K Sivaraman (mridangam), M A Krishnaswami of Parur lineage (violin) and B S Purushothaman (kanjira) combined well as a team to provide pure aesthetic pleasure at the Maestros Choice Series Concert organised by Sri Lakshmi Kalaivani at the Sastri Hall, Luz, Mylapore, recently (November 29).
If a comparatively junior musician has Umayalpuram maestro for his percussion support, he will either tend to be overawed or grab gleefully the opportunity to win all-round appreciation. In overall context, the concert will, in any way, be well-received.
Flautist Bhaskaran, disciple of Mayavaram Papa Saraswathi Ammal, preferred just to be at his natural best and rely on his instrument to win laurels that evening. That he won handsomely the day’s honours is now an affair to remember nostalgically for long.
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| B S Purushothaman |
Due credit must certainly be given to the star-percussionist as well who brought out the best, in full measure, from his juniors, particularly, B S Purushothaman. The Kalyani Thani duel between the two percussionists was most enjoyable. As an instrument, the kanjira tends to get underestimated vis-à-vis mridangam quite often.
Bhaskaran’s main piece of the evening, Tyagaraja’s 'Eataavannara' (Kalyani-Adi) was also the best one. The pure swara-laden melody of the wind instrument with lovely sancharas blown by him into the reed was of pristine excellence. His mandarasthayi style helped him elaborate the popular raga, delineating all its related nuances sweetly.
The other expositions, commencing from the Abhogi-Ata thala Varnam in trikalas including Tisram, Dikshitar’s Hiranmayim (Lalitha-Rupakam: the neravals and swaras in ‘Sangita Vadya Vinodhini', starting two aksharas before the ‘Sama’ needs to be specially commended. This is not easy in a wind instrument), as also his Shanmukhapriya-Rupakam Siddhivinayakam, the Tiruvaiyaru Saint's Kuntalavarali 'Sara Sara Samare', Huseini 'Eamani Nekinthu', Purandaradasa’s popular 'Jagadoddharana' in Kapi and the Lalgudi Desh Thillana were all great music, replete with the dimensions of a praiseworthy order.
Umayalpuram Sivaraman’s mridangam artistry is above plebian commentaries. Even if he plays solo for three hours (he has done that) the rasika will remain unsated. The ‘nadha’ emanating from his unique instrument, his lovely caresses of the thopis stand unrivalled. He has reached commanding heights long, long ago and stays there, too, as the monarch of all he surveys. Let me keep myself at a respectful distance.
MAK's mellifluous strains and BSP’s enthusiastic kanjira thats and pats enhanced the entire programme memorably.
