Bharat Sundar impresses along with his Harikamboji elucidation

Bharat Sundar with L. Ramakrishnan (violin), Vijay Natesan (mridangam) and Sai Subramaniam on the Kedaram live performance, organised in reminiscence of N.V. Subramaniam, founder Saraswathi Vaggeyakar Belief.
| Picture Credit score: Courtesy: Kedaram

Kedaram lately organised a live performance in reminiscence of N.V. Subramaniam (NVS), who based Saraswathi, a performance-oriented organisation, and the Saraswati Vaggeyakara Belief, which focussed on the deeper facets of music. NVS was greater than only a live performance organiser. He had learnt to play the violin, and had perfected the artwork to the extent that he even accompanied senior artistes reminiscent of Maharajapuram Santhanam and T.R. Subramaniam. NVS tried to search out time to pursue his ardour for music regardless of holding a senior place within the Southern Railways.

In his live performance on the Ragasudha auditorium, Bharat Sundar impressed along with his voice and presentation. As an example, his Harikamboji elucidation, with participating gamakas and lucid phrase, had a lingering impact. Senior violinist L. Ramakrishnan performed the phrases with equal zeal.

Bharat Sundar selected ‘Enta rani tanakenta’ in an acceptable nadai within the raga. The saint says, “Lord, no matter occurs, I’ll by no means transfer away from you.” The niraval and kalpanaswaras have been aptly rendered on the charanam ‘Seshudu sivuniki bhushudu lakshmana’. If the intensive niraval was studded with aesthetic phrases, the impromptu swara clusters displayed the vocalist’s creativeness.

On the mridangam, Vijay Natesan, disciple of T.V. Gopalakrishnan, performed a sprightly thani punctuated with many glowing passages. On the morsing, Sai Subramaniam, disciple of A.S. Krishnan, was in a position to produce the specified tonality along with his subdued enjoying.

Poignant rendition

Earlier, Bharat Sundar sang a well-nuanced Dhanyasi. Dhanyasi is a raga that lets the rasika expertise a number of rasas. Papanasam Sivan’s ‘Balakrishan paadamalar panivorkku’ (Rupakam), which got here subsequent, conveyed the bhakti and karuna rasa.

The vocalist started his live performance appropriately with Kedaram. He selected Dikshitar’s ‘Ananda natana prakasam’ (Misra Chapu), a Panchabhuta kriti on Nataraja in Chidambaram. It has an in-built jathi-swara with a sollukattu in line. ‘Neekela dayaradu’ (Khanda Chapu) in Sarasangi by Ramaswami Sivan had niraval at ‘Nerataka bhuvi mida’ within the charanam section, and an elaborate swaraprastara.

At this level, Bharat Sundar recalled how as soon as T.R. Subramaniam stopped him whereas singing this niraval to level out a mistake within the enunciation of the lyric.

He subsequent sang Tyagaraja’s ‘Shara shara samaraika’ (Kuntalavarali) with a chittaswaram, set by the legendary M. Balamuralikrishna.

‘Udayadri Pai’ was a part of the favored Lalitha Sangeetham (gentle music) programme broadcast by AIR Vijayawada within the Eighties. The lyrics have been by Rachakonda Lakshmee Narasimhan, and it was tuned by Malladi Suribabu in Ragamalika. The track pays obeisance to the Solar. Bharat Sundar offered this track, giving it a particular contact with spectacular modulation.

‘Charana kamalaalayathai’, a Tiruppugazh in Subha Pantuvarali, and a thillana in Khamas have been the concluding items.