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Flawless rendition
HARISH BAL
|
Trivandrum Krishnakumar's rendition showcased his vidwat in laya and
manodharma sangeeta. |
MAKING WAVES: Trivandrum Krishnakumar
Trivandrum Krishnakumar is a promising musician
who is well versed in the intricacies of mathematics of Carnatic music.
That was proved beyond doubt when he adeptly handled music director
Devarajan's composition `Shatkala pallavi.'
Trained by veterans like Neyyatinkara
Mohanachandran and M. Balamuralikrishna, Krishna Kumar is making waves
in the Chennai music scene as well.
His Carnatic vocal concert for Poornathrayeesa
Sangeeta Sabha, held at Kalikotta Palace, aptly brought out the
richness of his musical legacy and his vidwat in laya and manodharma
sangeeta.
Glides and turns
`Vanajaksha,' a varnam composed by T.R.
Subramanyam, was the first item. A compactly woven piece in raga Behag,
it charmed the audience with its unpredictable glides and turns. `Srigananatham Bhajamyaham' in raga Kanakangi
had jhanda passages dominating the kalpanaswaras. `Kamakshi amba,' a
swarajathi by Shyamshastri in Bhairavi, was replete with raga bhava. After `Marukelara o raghava' in Jayanthsree,
Krishnakumar expanded Hamsanandi with an etch on the moorchanas and
high vocal control.
Avaneeswaram Vinu gave a short sketch of the raga. Swati Tirunal's `Pahi Jagatjanani' was the Hamsanandi kriti presented.
In his Todi alaapana, Krishna Kumar took off from the dhaivatam to the upper shadjam rather abruptly.
`Dakshayani abhayambike' one of the
`Abhayambika' set of kritis by Muthuswamy Dikshithar in rupaka tala was
rendered impeccably. Cherthala Dinesh gave good support on the
mridangam and he, along with Gopinathaprabhu on the ghatom, gave a neat
clear-cut thaniyavarthanam.
In a tribute to his guru Balamuralikrishna,
Krishna Kumar sang a few of the latter's compositions like
`Pavanathanaya palayamam.'
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
