Melody personified
RARE IS the case where the names of the artiste and her instrument have a metaphorical significance. She is M.K. Saraswathi, veena player. The hallmark of the recital she presented at the Krishnamurthipura, Sri Rama Mandira, was swaasthya (repose) resting on melody, creativity, and a deep understanding of the medium. The initial twang in Chakravaka gently blossomed into "Sugunamule Cheppukonti Sundara Raghu Rama" (Thyagaraja). Note that it was a Punarvasu day (Sri Rama's birth star, January 24) when the recital was held.
"Vande Vasudevam" (Sri, Annamacharya) elevated the concert to the level of the great MS's vocal recital: same clarity, deep melody, and total submission to Him. The neraval at "Saraseeruhaanana" visually portrayed Sri Rama's grace and valour in our minds. In the delineation of "Ksheerasagara Shayana" (Devagandhara, Tyagaraja) the gliding gamakas cajoled the strings to paint the scene of the Lord resting in the ocean of milk.
Shanmukhapriya taana took off to "Marivere Dikkevarayya Rama" (Patnam). The neraval at "Sannuthanga" developed in depth; effortlessly gliding to the filigree work in kalpanaswaras was a gem of purest ray serene. S. Kumaraswami's melodious and creative mridanga complemented by Srirama Bhat's ghata lacing were added delights of the pleasant evening.
G.T. NARAYANA RAO
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