Ashwath Narayanan presents an exquisite Kamboji at the December Music Festival of the Music Academy

Ashwath Narayanan accompanied by violinist MS Ananthakrishnan, mridangamist Thiruvavarur Bhaktavatsalam and BS Purushottam on kanjira. , Photo Credit: K_Pichumani

Ashwath Narayanan is a musician with impeccable tenor, good vocal range and dynamics, and respect for tradition. concert for them Music Academy Shine on all these fronts. Good programming gave a satisfactory result, even if it wanted more time for the latter part of the concert.

Kalyani Varnam in Ata Taala was an easy start for Ashwath, providing a good understanding of how the concert would play out. ‘Yochana Kamla’ was introduced in the court with a short raga alapana. The impact of the presentation of the work was limited but the tone was aesthetic, making full use of the audience. Ashwath turned the show somewhat with an elaborate thodi alapana and the sloka sung as a viruttam was enjoyable. The perfection of little fare was elusive. ‘Tanigai Velar Saravanabhava’ written by Papanasam Sivan seemed like a logical sequel to the ode on Muruga. The kriti in Khanda Chapu is a masterpiece and Ashwath’s patantara fidelity took the concert to good heights. In ‘Thulli Vilayadi Varum’, Niraval created a good rapport with violinist MS Ananthakrishnan and mridangist Thiruvavarur Bhaktavatsalam.

‘Jambupathe’ (Yamuna Kalyani, Dikshitar) was a good idea to evoke some peace, but the execution weighed down the emotional weight and Dikshitar presents the virtuosity belated in such creations. Such songs appear to be half-baked songs but are misleading in their underlying trajectory. Not done well, such acts can spoil the momentum of a concert, as happened here.

The Malayamrutham Tiruppavai (Sitru) filler was followed by a nice classical Kamboji episode. Ashwath’s alapana was competent, but the krithi rendition (‘Averimata’, Tyagaraja) with powerful vintage melody from the Ariyakudi-KVN stable was excellent. Anupallavi was particularly encouraging, with the high notes underscoring the maturity of Ashwath’s voice. Innovations are common in today’s concerts and thus Ashwath’s Niraval in ‘Shaktikala Mana Devude Nivani’ instead of traditionally heard lines was born. Once again, splendor and ‘Suddham’ were infused in the Sangats working in Nirawal. Tones were measured with short sequences and standard Kurappu.

Ashwath Kamboji Photo courtesy: K. pichumani

Ananthakrishnan was as sharp and intelligent as Ashwatha in these Manodharma sections. Bhaktavatsalam eagerly waited for this moment and decorated the growing beauty of the Kamboji piece. The taani had strong dynamics and punches in various naadis following the habitual template of Bhaktavatsalam. BS Purushottam was an able foil in these parts of the concert. Bhaktavatsalam, perhaps, allowed the enthusiasm to violate decibel norms. Exciting rhythm sometimes outweighs skill.

Ragam Tanam in Behaag started later than Pallavi Ashwath. He and Ananthakrishnan compensated for this with a good tanam which allowed the audience to enjoy the raga more. It is not easy to stick to the plan when the singer is racing against the clock, but Ashwath still did proper justice to Pallavi in ​​the section Triputa (one-fourth Eduppu) and presented four kalams, which included a combination of niraval and swarams. Basket included. Bharat Sundar’s song ‘Thenai Paruga Thumbiyakinen’ is another song in the series of contemporary Pallavis which are in vogue these days. The song also mentions the raga in Tamil and many people would have cleared the quiz.

Ananthakrishnan’s good alapana and tanam were no surprise, as his gurus and seniors at the Parur school enjoyed playing ragas. Naadanamkriya in ‘Chittam Appadio’ had a natural glow and Ashwath enjoyed presenting it with true devotional colours. Ashwath would be partially satisfied with this concert, as he would probably like to turn such good concerts into great concerts. There is no doubt that he has the ability to do this.