Amidst some artists cancelling their Markazhi performances there is an ongoing debate if other performing artists are insensitive to the feelings and sufferings of the public caused due to the recent floods. Looking at the shear number of elders and youngster turning up for the duo's concert, I confirmed there was no relief material that was getting distributed and it was the healing power of music that got them to show up.
But before I go into details why their music is a drug for some, I would like to ask an open question on their baani. The duo are students of Sangita Kala Acharya PS Narayanaswami like Ranjani Gayathri and many others, but I fail to trace a unique characteristic that best describe PSN baani across all his students. For example: GNB baani is attributed for manodharmam, brigas, fast paced delivery, etc. and this can be seen across MLV, Trichur Ramachandra, Sudha, and Sangeetha. So, what distinctly describes PSN baani? What should I spot across PSN's students?
The young Trichur Brothers, Sri Krishna and Ramkumar appeared tame like the Ganges at ugamasthan (point of origin) as they began the concert with a varnam in Begada. The next item, Rave Himagiri, a swarajathi of Shyama Sastri in Todi rendered with utmost devotion brought upon the same peace from watching Ganges trickle down the peaks of Gangotri.
But shortly with the change in the landscape, the duo revealed their wild side. Their brisk rendition of Siva Siva Yena in Pantuvarali weaving a beautiful pattern of kalpanaswarams transported me to the banks of Rudraprayag, where the two rivers Alakananda and Bagirathi from the peaks of Kedarnath and Badrinath come together. At the point of confluence both rivers give each other their due freedom and when one turns wild the other holds by morphin into a bank and the same quality was spotted among the pair.
Soon arrived Sahana like a gentle breeze on a summer afternoon, which failed to cool down the temperature. Despite taking refuge under a composition of Swathi Thirunaal, Jaya Jaya Rama, the brothers failed to evoke the mood, but quickly connected back with the audience through Garudagamana in Nagaswarali that came with delectable chittaswarams.
Like humans encroaching upon river banks and flood plains, Sabhas have started to infringe upon artist creativity by trying to restrict performances to under 2hrs. The eldest of the two, Sri Krishna politely asked the organizer if he could take up some extra time before he delved into the contours of Charukesi. The violinist, Mullaivaasal Chandramouli failed to give a fitting response to the brothers by confining himself to the known boundaries of Charukesi. The moment of high came when the famous Vidwan Late TR Subramaniam's pallavi - Maragatha Manimaya Vilasitha Ramayya, Maravatha Guna set Misra Jampai Tisra Gathi was meticulously rendered in various ragams.
Like the subdued Ganges at Har Ki Pauri in Haridwar, the duo concluded their concert with Varugalaamo, a Gopalakrishna Barathi's composition without taking away the healing properties of Maanji. Haan ji, now we know why elders and youth throng Trichur Brothers concerts. Isn't this the secret of PSN baani?
Interestingly, the artists refrained from using the words Pulayanaai and Parayanai and went with simple substitutes in the Maanji krithi. May be they worried after witnessing what had happened to Anirudh and Simbu recently? Ghatam vidwan DV Venkatasubramaniam was seen idle on the stage during the 130 minutes. Any payment issue or is protesting against intolerance in India?
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