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SANGEETHA RASIKA SANGAM - March 2002 - 2nd Concert
Sangeetha Rasika Sangam , Chinmayanagar, Chennai-92 conducted its 23rd Music Programme at Sri Hari Hara Temple, Chinmaya Nagar stage II, Chennai 600 092 on 31st March 2002, featuring a Vocal Concert by Smt. Vijayalakshmi Rajaram, disciple of Shri Thanjavur Shankara Iyer, with Smt. Radha Sundaresan on Violin and Kalaimamani Shri R N Ganesan on Mridangam.
The concert began with singing of Adhi Thala Varnam 'Sami Ninne' in Pantuvaralai. 'Vallaba Nayakasyapa' of Muthuswamy Dikshidhar in Begada followed . Being a Rakthi raga, the sahitya, as it were, flowed with melody and the swara text was rendered with technical perfection . The next song 'Balasubramania' in Vishnupriya of Thanjavur Shankara Iyer was neatly executed.
'Chinna Nade' of St.Thyagaraja in Kalanidhi, a Janya raga of Karaharapriya, 'Giridhara Gopala' in Mohanam and 'Nadadina' in Jana Ranjani were rendered in aesthetically pleasing manner, which sustained the momentum of postive response from the audience.
The raga rendition of Kambodhi had a truly classical base. Uthukkadu Venkata Subba Iyer's famed song 'Kuzhaludhi' attracted the rasikas with its literary exposition woven into a web of divine melody.
The most captivating piece was 'Natha Jana Palini' of her renowned Guru Thanjavur Shankara Iyer in the raga Nalina Kanthi. It evoked the interest of listeners with the raga's appeal discernible in Chathursruti Rishabam note occurring after Anthara Gandharam in the Arohana scale, with Dhaivatham being varjam both in ascending and descending orders.
'Kanamal' in Dhanyasi of Muthu Thandavar with powerful swara expressions invoking auspiciousness was rendered with great diligence.
The main raga taken up for elaboration was Shanmugha priya. 'Vilayada Idhu Nerama' was sung ably with focus on its devotional content. The swara prasthara enriched it further, with Kaisika Nishadham and Suddha Daivatham handled as effectively as one should, to keep this Prathimadhyama raga well under control.
Smt Radha Sundaresan provided instrumental support on violin in a befitting manner. She handled the swara patterns with emphasis on ragas' nature as regards their depth and aesthetics. Her display of skills in reproducing notes accurately is commendable.
Kalaimamani Shri R N Ganesan created a powerful Laya appeal with his beats on Mridangam producing excellent rhythmic patterns . His 'Thani ' brought in the minds of audience moments of reflection of the genius inherited from Mridangam Maestro Palghat Mani Iyer.
'Aadi Aadi' composed by Sri Javanthinathan in Hamsanadham revealed the Bhakthi element in it. Another composition of Uthukkadu Venkata Subba Iyer 'Brindavanam' in Kurinji revealing its potential and sung on auspicious occasions is praiseworthy.
The artist's ability to go to high pitch without producing distortion was seen in singing a song 'NamasivayaVazhgha' in Kedara Gowlam. Kabirdass Bhajan 'Rama Govindha' in Siva Ranjani, presumably with a Hindusthani base, was rendered with bhava.
'Enna Thavam Saidhanai' in Kapi was sung melodiously and with scintillating effect.
The programme ended well with singing of 'Sri Ramachandram' in Madyamavathi.