SMC September 1997 Concert
Review
It is an untold truth that the artiste's deep involvement
reflects the emanating standards of music. Srikanth Chary's
stirrings of sublime musical awareness was a narrative countenance.
In a recital spanning little over three hours, Srikanth
exuded his expertise of presentation apart, the listeners
could not overlook the felicity of flow at every turn, reflecting
the eternal grace and grandeur of Carnatic music. The concert
epitomised Lalgudi's principle of the musician's faith in
the traditional enrichment of Carnatic music. The very pith
and substance of paramparya music was evident in all his
sancharas, the sookshama of "nada" embedded in
his fingers as he handled the veena with consummate artistry
expanding the language to a halo of spiritual sacredness.
His varnam in Andolika was filled with lyrical beauty. This
was followed by Dikshitar's Sri Mahaganapathe in Gowlai.
Thereafter Srikanth raised the musical
consciousness for an invitation to appreciation on the part
of the listeners at a higher level. The raga lines of Nashika
Bhushani displayed well cultivated refinement and the kirtana
rendered (Maravairi Ramani-Thyagaraja) had a touch of freshness
and finesse carrying the imagery of his guru Lalgudi Jayaraman.
The contours of Kalyana Vasantham (Nada
Loludai-Thyagaraja) was technically faultless. There seems
to be a strange magnetism associated with this tune. Though
Srikanth deferred from elaborating the raga, the kirtana
by itself was able to develop pensiveness and invocation
to higher levels of consciousness. Perhaps it is the sacredness
and spiritual core of the composition that sets the mood
for expansion.
The weighty raga Srikanth played was Charukesi.
Here again Srikanth epitomised the radiance of the raga
with punctuating phrases and layers of lyrical silences,
the silences outlining his depth in glorious shades. Not
only were his communication of Charukesi sensitive, but
there was also a stamp of reverence to his guru Lalgudi
Jayaraman in his tonal development of the sancharas . The
kirtana Srikanth selected was Tamasam Enduku (Ashok Madhav
- Pittsburgh). Though the composition was new to the Sydney
audience, the language of musical instincts made the rendition
enjoyable. The swara portions were rhythmic and were rendered
with great persuasiveness.
Srikanth followed the pensive Charukesi
with the brisk and vibrant Kunthalavarali (Bhogindrasayinam-Swati
Tirunal) before settling down to an elaborate Ragam-Tanam-Pallavi
in Kalyani which was patterned with soft and sombre movements.
"Ananda Natana Prakasha, Sabesha, Natesha" weaved
dainty delights on the listener, with beautiful swara aksharas
following in Ananda Bhairavi, Kedaram, Surya, Madhuvanthi
and Desh.
The later part of the concert was filled
with some popular tunes in Ragamalika (China Chiru Kiliye-Bharatiyar),
Khamas (Edatupatham-Papanasam Sivan), Revathi (Nanati Baduku-Annamacharya)
and the ever flowing Hamsanadham (Bantureethikolu-Thygaraja)
being the listeners choice. Srikanth chose to end the concert
with another "gurubhyonamaha" in Dwijavanthi.
The tillana apart from being perfect in aksharas, also slowly
reminded the audience that the end has come to a truly wonderful
evening. Laghuthaas's percussion was vibrant and at times
exuberant.
An evening of chaste Carnatic music. Will
linger in the mind for times to come.
Hari Subramanian, Sydney, Australia
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