Season Reviews - Music Academy

By Sivapriya Krishnan

Veena – Ramana Balachandra

Mridangam – Anantha R Krishnan

Ghatam – Suresh Vaidyanathan

Music Academy – 18.12.25

Ramana Balachandra has become a sensation as a vainika amongst the listening audience today. Young and assured, he wields the instrument with acumen, confidence and an easy nonchalance. Naturally endowed with tremendous abilities in all departments of music, it comes so easily to him, and it has been ever since he was a very young boy. He has a nice baritone voice and can sing well, which he demonstrates often in his concerts by singing along with the veena.

A child prodigy often goes through many stages of maturing and stabilising with his or her art. Since they are exposed fairly early to stage performance, there is a heady mixture of adulation and applause out there, and with modern technology, they also get opportunities to be seen and heard often. From a stage of display of talent, it moves to a display of skilful exploration and to a stage of display of virtuosity, experimentation and exploration. From there to transcend to the next stage, where the artist matures with certain defined musical values and individual style, is a leap that comes only with self-introspection, guidance, and a codification of what you want to be and do with the art.

Ramana is right now in the phase of display of virtuosity, experimentation and exploration with his youthful mind, brimming with musical ideas and a fearless stride in displaying it. This sometimes comes at the cost of melody, grammar and overall aesthetics. The only brake that he may have to apply is to listen to himself, introspect and impartially question as to whether he is getting wired in his own virtuosity, which gets applauded. In the concert that evening, one got a feeling that his display of virtuosity and free musical thinking somehow overtook the required serenity, melody and sustenance of nuanced music, because of too much noise that was generated, despite the new sound system at the venue. Veena is such a brilliant instrument, and in the hands of a brilliant musician, it can actually vocalise itself, but here it sounded like an electric guitar.

Raga Sudha Rasa in Andolika was followed by Chintayama kanda moola kandam, a Dikshitar masterpiece in Bhairavi on Ekamranatha- Prithvi lingam. Though the kriti was played with the requisite skill and intelligent swaras, the melodic soul of the song was missing. In contrast to this, Mayamma enine in Ahiri was given its due care and diligently played to evoke the required nuance of the song.

The ragam-tanam-pallavi in Dwijawanti would pass muster as a clever exercise with all its required treatment. Here again, Ramana dessicated the raga too much. Dwijawanti is a delicate raga and has shades of other ragas infused into it. One has to be sure and clear, not to meander too much into those and essentially preserve the composite nature of the raga, and we have plenty of references in our compositions to learn from. One heard repeated shades of Khamas, Desh, and then it would quickly come back to sit on the core notes of Dwijavanti itself. In the alapana, the raga forayed into heavy shades of Hindustani flavours and again came back to the Carnatic pavilion, thus leaving the listener confused as to what the intent of the musician is. The veena lends itself especially well to tanam and madhyama kalam in the Carnatic style of presentation. Ramana went on to play more of a jhod, Jhala kind of a technique with a little of the tanam display thrown in between.

Experimentation is good, but going from here, it would do well for Ramana to figure out where he would like to centre his style and start owning it.

Very capable and seasoned percussionists like Anantha R Krishnan (mridangam) and Suresh Vaidyanathan (ghatam) accompanied on the mridangam and ghatam, respectively, and there was a palpable interaction between the team.

***

Vocal – Bharat Sundar

Violin – Rajeev Mukundan

Mridangam – Patri Satish Kumar

Ghatam – Guruprasad

Music Academy – 20.12.25

Bharat Sundar delivered a well-structured concert that was rich in raga bhava and balanced laya, showcasing his thoughtful musical approach. He consistently prioritised the melodic elements of music while remaining true to classical values of music. Bharat is unafraid to experiment but respects the contours of melodic limits and grammar and never overdoes anything.

He began with Era Napai, a Todi varnam, followed by Ganasudhapana Niratam, a song by vidwan M. Balamuralikrishna in Nata. Satre Vilagi Irum Pillai, a composition by Gopalakrishna Bharati in Poorvikalyani, featured all the essential components, including a solid raga alapana and niraval swaras at Bhaktiyil Karai Kandavan. Sri Tyagaraja Maha Dhwajaaroha in Sree raga was rendered with the grandeur required and in a relaxed manner, quickly transitioning into Sarasa Sama Dana in Kapi Narayani. Bharat demonstrated his ease in manodharma with quick successions of kaal and arai avartana swaras that beautifully embellished the song. Bhajare re manasa in Karnataka Devagandhari showcased majestic appeal and highlighted the beauty of both the raga and the kriti.

The ragam-tanam-pallavi in Kalyani was set to Khanda chapu-tisra nadai, featuring the line: Nee dayai puriya taamadam aagumaa Saravana bhava, varam arula unai vendi nidam panninden. The tala structure was mathematically intriguing, and Bharat clearly demonstrated his mastery over tala. The evening wrapped up with Kuyilar, a song by Kalki Krishnamurthy in Maand, leaving a deeply satisfying and wholesome feeling that lingered long after the concert.

Rajeev Mukundan has grown as a sensitive violinist, and he enhanced the concert with his intelligent phrases and precise landings. He was measured but matched Bharat's ideas and approach.

Patri Satish Kumar, as a senior mridanga vidwan, is an invaluable asset to any singer, providing professional support and a nuanced understanding of laya. Guruprasad deftly accompanied the ensemble with appropriate highlights and strokes on the ghatam, enhancing the overall quality of the percussion. 

(The author is a Carnatic vocalist, writer and management professional)