Ramakrishnan Murthy performing at the December 2024 festival of Sri Parthasarathy Swami Sabha. , Photo courtesy: M. Srinath
The Tanam section of RTP rarely gets its due. Perhaps this is the challenge of singing and playing while preserving the Raga Lakshana. Singer Ramakrishnan Murthy and violinist Vitthal Rangan (violinist) conducted a veritable masterclass on Tanam, not just in one raga, but in their various ragas, switching effortlessly and melodiously.
Ramakrishnan introduced the Yadukula Kamboji kriti, ‘Ninnu Sevinchina’ (Tyagaraja, Mishrachapu) in Anupallavi to bring Parthasarathy into the concert early, ‘Kanakangi Sri Rukmini’. Even though it was the first piece, Ramakrishnan sang with the necessary emotion as the piece demanded. ‘Ninnu Cheppaga ChalmeMandari’The fast-paced bands heated up the proceedings.
Ramakrishnan Murthy’s music is a symbol of purity in Shruti, Swaram and Bhakti. Photo courtesy: M. Srinath
Hamir Kalyani (Tyaagaraj) had moments of peace in ‘Abhimanamu Ledha’ without stopping the pace of the concert. Ramakrishnan came close to the patented blueprint of the raga of the Dhanammal school. He preferred restraint over irritability.
Ramakrishnan Todi Alapana was a fountain of trademark accompaniments. It is hard to be impressed by Todi Alpana as all the versions are sung and heard. Nevertheless, Ramakrishnan had some powerful phrases. Vitthal has the perfect combination of an active mind and a calm demeanor (rather than the other way around). His Toddy essay was equally admirable, showing elegance in Varjam flights around ‘Pa’ and ‘Sa’. In good virtuosity ‘Kaddanu Variki’ is paired with a bright niraval on ‘Baddu Thappaka Bhajiyinche’ which starts attractively on the upper shadjam and makes it more aesthetic. The lines extol the virtues of purity in shruti, swaram and bhakti – an irony in the growing indifference towards these in general. However, Ramakrishnan continues to pioneer such values ​​and this concert was no exception.
The voices are now part of Kalpita Sangeet, especially Korvais, and Ramakrishnan, Vitthal and Delhi Sairam (Mridangam) took the audience on a rollercoaster ride. The first part of Sairam’s taunt was good ‘static’ and the last part had the obligatory exaggerated strokes. Due to the competitive scenario it has now become difficult for percussionists to resist the temptation.
Ramakrishnan’s Gaulai landed on ‘Ri Ga Ma Ri’, prompting Gaulai as the raga chosen for Raga Tanam Pallavi. Raga Alapana was suitable for the curriculum, but it was gradually developed by both Ramakrishnan and Vitthal. Creative sentiments took over and the duo presented a grand tanam that preserved the colors of the raga and transcended the Gaulai. The singer sang Nalinakanthi and Varali, while Vittalan danced to Nattai and a very melodious Subhapanthuvarali, which got the crowd dancing. Both of them created a wonderful effect in the tanam, changing the ragas seamlessly.
Mridangam scholar Arun Prakash’s composition in Kanda Triputa ‘Mozhi Pala Irundam Vijigalal Kathai Koorum Ambe’ was an interesting pallavi sung by Ramakrishnan. Looks like Tamil is the order of the day.More Ragamalika notes flowed from both singers and violinists (Khamas, Ragesari, Brindavansa Saranga), but nothing could erase the wonderful memory of Tanam. Vitthal was in his element in Rageshri.
Ramakrishnan Murthy enjoys performing the tukkadas as much as he enjoys the commercial end of the concert. He adorned her with a beautiful veil. Vittal was as much a star that evening as Ramakrishnan, playing brilliantly and creatively together. Sairam Krithi has a healthy respect for structures and plays with the singer like the parallel railings of a train track. Ramakrishnan Murthy sings with the maturity and understanding that makes anything a good concert.
published – December 29, 2024 11:14 PM IST