PAPER CUTTINGS

Carnatic Music Soars to Great Heights at Tyagaraja Utsavam

By Sivalakshmi Roshith - KOZHIKODE

Published: 21st February 2014 10:38 AM

Carnatic vocalist Calcutta K Vijayaraghavan performing at the recently concluded Tyagaraja Utsavam in the city | express

The recently concluded Tyagaraja fest also witnessed the presence of some eminent artists like Trichy Ganeshan, Calcutta Vijayaraghavan, Harippad K P N Pillai, Sunil R Gargyan and Aswanth Narayanan to name a few. “

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Relaxed approach (The Hindu 
review25.8.2006.Carries old_world charm)

Singing in the Gokulashtami series at Sri Krishna Gana Sabha, K. Vijayaraghavan's relaxed approach conveyed the impression of an artiste comfortable with his music.

The solfa passages had a natural gait free of pre-determined patterns for "Sathguru Swamiki'' in Ritigowla. The Pantuvarali alapana showcased a predominance of medium to fast phrases softened by jarus, while the halt at the madhya sthayi nishada accompanied by panchama-varja swaras lent a distinct touch of colour.

Tyagaraja's "Raghuvara," featuring clipped delivery of sangatis aimed for pace without aggression, with adroit handling of neraval and swaraprasthara at "Manasuna."

Khambodi, the main raga, was ripe for the picking, with mellow prayogas defining raga swaroopa.

Sancharas, guided by a sense of purpose and direction, reached their destination after an unhurried exploration of promising possibilities.

The madhya sthayi was developed with assurance, the mood effectively sustained by the violinist, making for a smooth passage into Tyagaraja's "O Rangasayee."

B. Raghavendra Rao was ever receptive to variations in texture and nuance, while on the mridangam, Thanjavur Ramados's reassuring presence complemented the vocalist's style with deft strokes.

B. Raghavendra Rao was ever receptive to variations in texture and nuance, while on the mridangam, Thanjavur Ramados's reassuring presence complemented the vocalist's style with deft strokes. 

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( The Hindu

27.6.2008 Friday authentic
interpretations)
     

Kolkata Vijayaraghavan’s concert on the Bahula Panchami day organised by Sri Sadguru Gana Nilayam at SMR Matriculation School, West Mambalam, dedicated to Saint poet Tyagaraja, was marked by authentic interpretation of ragas Varali and Kalyani.

The sruti suddham of Madurai T.N.Seshagopalan’s disciple made the concert even more enjoyable. Vijayaraghavan capitalised his powerful voice to make a statement of Varali ragam with akhara phrases that fell in place perfectly.

Guru’s style

Adopting his guru’s style, Vijayaraghavan went on to sing ‘Eti Janmamidi’ (mishram) in a gentle speed befitting the kriti. Karaikal Venkatasubramanian’s (violin) reply was equally spirited. The kalpanaswaras, developed neatly in a logical manner, were in tune with the kriti. Tiruvidaimarudur Radhakrishnan’s (mridangam) laya interpretation showed the experience he has gained as a practising vocalist too.

‘Telisi Ramachandra’ (Poornachandrika-Adi) was at a very brisk pace before he embarked upon essaying Kalyani.

Vijayaraghavan started off very well with fertile imagination resulting in phrases flowering with a flourish. He was at ease singing in the upper octaves.

One felt that he need not have resorted to sruti bedam resulting in pentatonic ragas thereby spoiling the Kalyani mood. Venkatasubramaniam’s Kalyani was copy book style. Full justice was done to the kriti ‘Etavunara’ (Kalyani-Adi) with niraval in the anupallavi that showcased his control in laya.

Vijayaraghavan’s calculations in the kuraippu phase of the kalpanaswaras caught the violinist unawares at times. Radhakrishnan’s thani was pure vintage stuff. ‘Nada Loludai’ (Kalyanavasantham-Rupakam) and ‘Rama Katha Sudha’ (Madyamavathi-Adi) were the concluding pieces
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Firm foundation

SVK

Kolkata Vijayaraghavan has
potential (Friday, Oct 29, 2010)

The strong voice and use of nothing but akaras in alapanas explained the weighty expository method of Kolkata Vijayaraghavan in his concert for Sri Thyagaraja Seva Samithi.

Restrained spontaneity would have helped better enjoyment.

Good music emerges when soaring manodharma is tempered with a sense of equanimity -- in such a situation music gains graciousness.

The lack of this was compensated by good Tyagaraja kirtanas in his Bahulapanchami recital. Interpretative aim in rendering songs was directed to creation of exhilaration particularly in the two items, ‘Merusamana' (Mayamalava Gowla) and ‘Ammaravamma' (Kalyani).

The latter has inbuilt tempo and hence his presentation was excusable, but the former is framed in serenity which he failed to bring about.

In alapanas of Kalyani and Karaharapriya, ‘Chakkani Raja Margamu,' Vijayaraghavan displayed pulsating approach away from usual hackneyed process.

Vibrant sancharas

This aspect clearly pointed out his capabilities in the arrangement of sancharas to create an impression of vibrancy.

Music has two dimensions – the sastra and the call of sensitivity. The first one is easy to achieve but the latter requires steadfast cultivation. Striking a balance between the two, speaks of a musician's progress towards maturity. Vijayaraghavan has the potentiality to move towards this objective. He revealed strong foundation both in raga development and rendering of songs, ‘Sri Raghu Kula' (Hamsadwani), ‘Maravairi' (Nasika Bhooshani) and ‘Chakkani Raja Margamu' (Karaharapriya). But he has to protect himself from the lure of vocal display.

The violin accompanist was G. Bharati, daughter of M. Chandrasekharan. She has imbibed all the nuances of ragas in crispness, and accompanying experience should take her to a more purposeful level. The glowing touches she gave to the Kalyani and Kharaharapriya vinyasa in her solo session sprang from her lineage. Thiruvidaimarudur Radhakrishnan on the mridangam played with a sense of proportion needed to embellish kirtanas.

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