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Unrehearsed N. Subbalakshmi.

S angeetha Ksheerasagaram organised a Carnatic vocal recital last week by N. Subbalakshmi with N.C. Anantha Krishna on the violin and Kapa Srinivas on mridangam. It was a creative music concert without any rehearsed or set pattern. She learned from Hyderabad Brothers' Seshachari and then from Bhagavatula Sitarama Sarma in Chennai who had given her advanced coaching in improving manodharma.

It was an absorbing recital that opened traditionally with Natakuranji raga varnam in madhyama kalam, quite an exercising number. This was followed by Jaya Jaya Jaya Janaki Kaanda, a Kannada composition of Purandaradasa in Khandachapu talam. Manasuloni Marmamu in Hindolam with brief sketch of raga and a bit of swarakalpana was next number she rendered well with sahitya bhava. Subbalakshmi then rendered Marugelara O Raghava in Jayantisri, just in kriti format. Then Poorvikalyani was the first raga she elaborated and rendered in it Gjnanamosgarada with nereval and swaram. This piece was her first major raga effort and she delineated well displaying rich manodharma. She presented nereval at the right line Paramatmudu Jeevatmudu where Sahitya expansion with musical sense was worth listening. This was followed by Swarakalpana again an example of the reflection of her manodharma.

Kadanakutuhala Priye in raga Kadanakutuhalam of Pallavi Seshayyar's was rendered next, almost a Tamil version of popular Kadanaskutuhalam piece Raghuvamsa Sudhambudhi. She rendered it well. Annapoorne Visalakshi in Sama was another number she rendered before she took up Madhyamavathi as her main raga of the evening. The essay was built up carefully, sailing into the top octave of her vocal range. She brought out full picture of the raga. Palinchu Kamakshi was the number she presented in this. The rendition of the kriti was neat and the nereval she set within it at the line Kantamagu Peru Ponditivi was well presented. This was followed by pleasing swarakalpana.

Srinivasa Tiruvenkata in Hamsanandi, concluded the serious part of her concert. In the latter part, notable was a devotional of Sadasiva Brahmendra Gayati Vanamali that was received well. Anantha Krishna's violin was compatible at all stages of manodharma sangeetham. Tani Avartanam by the mridangist was neat.

G.S.