Fine vibes on musical plane

On November 12, Mandolin U. Shrinivas and Hariharan proved that there are no speed breakers on the road to excellence. At ``The Musical Vibes'' at Kamarajar Memorial, they not only struck the right notes but also transported the rasikas from the mundane to the realms of ecstasy.

The notable aspect of this innovative effort was the amalgamation of kritis, ghazals, patriotic songs, Carnatic and Hindustani styles of raga and swara prastharams rolled in vilamba, madhyama and druta tempos.

Summarising the essence of Nagaswaravali through an entrancing outline, Hariharan and Shrinivas began the programme by propitiating Lord Ganesha with the slokam ``Mooshika Vaahana Modaka Hasta.'' To continue the raga, Shrinivas chose the fast- paced kriti, ``Garudagamana,'' by Patnam Subramanya Iyer which was marked by delicacy. Hariharan's smooth merging of the ghazal ``Din Bhari Shyaam Raat Baari Hai'' brimmed with emotion, with the right mixture of ghatam and tabla catering to the finer sensibilities of the listeners.

It was the detailed exposition of Keeravani that mirrored the rich experience of the two musicians. The ample use of base strings by Shrinivas to expose the subtleties of the raga, and his long stretching ``one-stroke'' sangatis created an upbeat listening mood. Ably supported by Pradeep Pundit on the harmonium, Hariharan neatly slipped into the ghazal ``Hath Me Dekhe Mera Bath'' and the pleasing neraval in the line ``Tum Na Badaloge'' by both in gratifying paces leading to some mellow rendition of swaras were in perfect alignment. Bringing about the mood of the ghazal ``Samarata Nahi'' (tuned by Shrinivas) was the soft raga Desh, which quickly drifted to Bharatiyar's ``Parukulle Nalla Nadu''. The unison of Asrar Ahamed's tabla and E. M. Subramanium's ghatam here needs special mention.

The variations in the accent and tone of Carnatic and Hindustani music were highlighted in Mayamalavagowla with Tyagaraja's ``Tulasidalamulache''. This is where both Shrinivas and Hariharan were guided by what really makes for the beauty of the ragas, kritis and swaras - the lakshya gana. Hariharan's effortless switching over from Carnatic to Hindustani, his modulation of voice to suit the lyrics and some electrifying swara korvais by Shrinivas were noteworthy.

Even if Vyasa Raya's popular kriti ``Krishna Ni Begane Baro'' never lacked in its melodic presentation, Hariharan's rendering of the sahitya seemed short of one's expectation. It is in the sahitya that a musician applies more sensitivity to a kriti, enabling one to visualise the scene of action.

Bharatiyar's ``Chinnanchiru Kiliye'' and a Sai bhajan in Revati ragam finally marked the stamp of class on ``the South Indian cousins'', as light-heartedly referred to by Mr. T. T. Vasu, president, Music Academy, who inaugurated the programme, that was aided by the Ministry of Human Resource Development, Department of Culture. Mr. G. K. Moopanar, president, Sri Tyaga Brahma Mahotsava Sabha, was the chief guest.

RANJANI GOVIND