Thursday, 22 December 2011

Paramatmudu for Trichy Sankaran

By S Sivaramakrishnan

Trichy Sankaran accompanied Chitravina Ravikiran at the Music Academy on Sunday 18 December, in the 7 p.m. slot. If the Malladi Brothers’ robust concert at 4.15 pm was a sell-out, Ravikiran’s was ‘smooth sailing,’ anchored on aesthetics.

It was a fine occasion for the connoisseurs to savour Sankaran’s ‘unhurried and traditional strokes’ on a precisely tuned mridangam for the wonderful 5-kattai pitch of the chitraveena. Ravikiran dedicated the main kriti Paramatmudu (Vagadeeswari) to the Sangita Kalanidhi designate. It was for this kriti that Sankaran as a lad of 13 years had played his maiden tani during a concert of the Alathur Brothers.

Sankaran demonstrated the Palani sampradaya throughout his solo (with K.V. Gopalakrishnan on the khanjira). The perattukai/ mohra was aesthetic. For the ‘lightning RTP’ (as described by Ravikiran) in Saveri - Sankeerna triputa also, the Professor did a wind-up mohra as a fitting finale. KVG followed devoutly on the khanjira.

If at all there was a pace-maker in the menu, it was Pavanaguru (Hamsanandi) for which Ravikiran rendered some swaras in ati tara sthayi—something he rarely does. (Perhaps I was listening to the prayoga-s for the first time). However it went down well with the audience.

The core composition (going by the ‘difficulty index’) was an Oothukadu kriti in Manji—the varnamettu of which does not extend beyond the madhya sthayi (Ravikiran does not fail to announce such specialties for the benefit of the audience if not the critics). Thank Lord Rajagopala, it was only in Adi tala but enough to explain the amount of homework necessary to internalise such kriti-s.

Listen to a song in madhyama sruti on the chitraveena and you’ll be overjoyed. ‘Sakhiprana’—the celebrated javali in Chenchuritti—was pleasant and with that Ravikiran concluded the concert.

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