Ramakrishnan Murthy’s Concert at JSS Music Conference: A recital of poise, imagination and bhava

On Dec. 3, which was the second day of the 30th JSS Music Conference held at Navajyoti Sabhangana, Saraswathipuram, Ramakrishnan Murthy from Chennai delivered an evening that balanced tradition with thoughtful invention. His voice, warm, steady and unforced-acted as the thought-line: never showy, always musical. He chose repertoire that showcased both lyrical depth and improvisational range.

The opening of the concert with the Reetigowla Atta tala varna ‘Vanajaksha’ by Veena Kuppaiyer, established tonal clarity and a confident baseline for the concert. In the next two composition ‘vidulaku mrokkeda’ by Sri Tyagaraja in Mayamalavagowla and ‘Maapala velasika’ in Asaveri, the tempo of the presentation was lively but musical, respecting the composer’s melodic contours while adding small, tasteful ornamentations that amplified bhava rather than showing off technique. The swaras to the pallavi in Mayamalavagowla were melodic permutations and the second speed swaras rendered with such clarity proved only as a result of his endless effort in achieving it.

Ramakrishnan’s Alapana in Kalyani preceding the composition ‘BirAnavarA’ by Sri Shyama Shastri, praising Goddess Kamakshi, was the first extended improvisational canvas of the evening (though a short but explicit-with-bhava alapana was presented in Asaveri before). Kalyani was gradually unfolded showing both restraint and command. The neraval at ‘Shyama Krishna Sodari Gowri’ was a standout, exhibiting the vocalist’s hold over laya.

While the percussionists Tumkur B. Ravishankar (mridanga) and M.R. Manjunath (ghata) matched his spacing, Dr. Nishant Chandra also punctuated the neraval neatly. ‘Soundara RAjam AshrayE’ in Brindavana Saranga allowed the vocalist to show a contrasting rasa-lighter, sweet and devotional. His rendering was lyrical with small but effective melodic variations that kept the kriti alive.

Sri Tyagaraja’s ‘NenarunchinAnu’ came as an immediate contrast but here too, Ramakrishnan proved his identity in singing the kriti in the right tempo unlike the racy rendition that you hear in concerts in these days. The Alapana to this composition was a surprise as vocalists usually do not venture one. The swaras were intellectual but again here the swara sthanams had great clarity even in the speedy phrases.

The centrepiece was Thodi, in which a very rare composition, hardly heard in concerts was the choice. The ragalapana was atmospheric that sketched Thodi’s essential phrases with slow-building intensity. And the phrases were shaped to highlight the raga’s prominent swaras and characteristic prayogas. The vocalist held the notes effectively, letting the raga’s gravity settle before the composed piece began.

Kumara Ettendra, the composer, was a king of Ettayapuram who is described as being a great patron of arts and culture. A number of his compositions are listed in Sangeeta Sampradaya Pradarshini. ‘Gajavadana Sammodita veera’ is a blissful composition of this composer, wherein Ramakrishnan delivered the sahitya with clarity and weight. The neraval exploration at ‘VasutAtapura samrakshaNa dEva’ was rephrased melodically,  preserving textual intelligibility and the swaras  that followed showed command over laya and melodic invention.

Violinist Nishanth Chandran’s replies to the swaras were equally scholarly and received appreciation from the audience. Taniyavartanam by Tumkur Ravishankar and M.R. Manjunath was well-crafted, energetic, inventive and musically satisfying.

To close, Ramakrishnan sang a shloka rendered in Ragamalika in Bilahari, Sindhubhairavi and Darbari KAnada that showcased his versatility across ragas, leading onto Sri Purandara Dasaru’s ‘Chandra chUDa shiva shankara pArvati ramaNane’ and closed the concert with a tillana in Kanada.

—Dr. Padmavathi Narasimhan