Sweet lyricism
THE SOUND from the flute of Shashank has sheer
lyricism and a sweet melodiousness that is all the more striking
because music in his hands is not just swara-scales but integrated
mosaic. Instead of a mechanical rendering, his interpretation of
ragas and songs is his reflection on the sahitya and structural
aesthetics. These facets were in full view in his performance for
the TTD Information Centre. While in raga alapanas and rendering of
songs there was melodic eloquence his swaraprastharas were barren
exaggeration.
Shashank's picturisation of Kannada ("Ninnaada
Nela") Ramapriya ("Korina Vara") and Keeravani (ragam, tanam and
pallavi) had a full measure of imaginative sancharas well allied to
great sensitivity presented from the long flute (mandhara sthayi).
Also much faith he placed on fluttering fingering
virtuosity that went against the general serenity that marked his
play. Anything carried to excess satiates.
As his response, Embar Kannan's violin solo session
in the ragas came out with great vividness and consistency, not full
toeing the lines of Shashank. Abundance of melkalam beats was the
hallmark of the mridangam accompanist V.V. Ramamurthy. Karthick
(ghatam) here and there laced the mridangam beats.
SVK
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