Enthralling ensemble
Photos: K. Ramesh Babu
THE MUSIC lovers of twin cities were treated to mesmerising melodies of western classical violin concert with a dash of the Indian music recently. At a time when it was a difficult choice to make especially with a spate of music recitals (like Thyagaraja Aradhana and Golconda Cultural festivals) were on at various venues, the Lakshminarayana Global Music festival (Dr L. Subramaniam and Kavita Krishnamurthi) was difficult to resist.
The Norwegian Oslo Camereta Orchestra , a popular ensemble along with Arve Tellefsen tuned in some of the best melodies from pure classical to contemporary romantic, transporting the audience to realms of sheer bliss. Music is divine even if it is not a verbal praise of god and emanates out of a string instrument like that of Arve Tellefsen's violin. Dressed in formal blacks, the group opened to a traditional classical in soft, spiralling tones with the cello (Johannes
Martens, and Tiril Dorum Bengtsson) lending the deep tonal tinge in the background. Arve Tellesen took to centre stage from here with a couple of romantic contemporary compositions, all in the classical mould. His solo was by and large the highlight of the evening both in technical virtuosity interspersed with play of gimmicks completely inside the idiom. Tellesen's movements had both ease and mastery that was sweet and serene at the same time. The solo was a monologue with carefully charted crests and falls that united into a single utterance.
Stephan Barratt-Due, one of the leading Scandanavian violinists of this ensemble along with Tellesen seemed a perfect pair though both are individualistic in their own way. Like Oslo Camereta has been more into baroque music while Tellesen is not really among the group's soloists. His richness lies in blending with any orchestra and imparting sensitivity to every nuance.
Thrust and energy
The foot-tapping dance number they chose together was presented with a thrust and energy without being at any point of time, loud and garish or too rocky.
The Mother's Prayer (a solo) was in super fine tones resembling a whisper of a prayer to the almighty in the silence of one's heart. A sensitive listener could visualise the theme, which was prefaced prior to each number.
L. Subramaniam and party took up the second half of the concert beginning with traditional Carnatic recital of Thyagaraja kriti in `Bahudaari'. Subramayam's rhythmic variations in swarakalpanas for `Brovabhaarama... ' conceal shades of western playing but when he gets back to the lines, it is emotive and speaking. He wields the violin with an inborn talent taking the bends and curves in a stylish display.
Though he can render the Indian classical format with dexterity, Subramaniam cannot be classified as a conventional violinist by Carnatic instrumental standards.
His is a tremendous force that brooks no barriers and this can be felt in every nerve of his strings and bow.
The morsing (Satyasai) violin serve and volley as well as the tabla (Sandeep Das) violin duet was exciting. Pithy swara play, a la Subramaniam technique with the ghatam (Subhash Chandran) and mridangam (Gopinath) in the background was well received.
The east-west blend - `the global symphony' supposed to be the highlight of the concert, was a mixed fare.
Kavita Krishnamurthi despite her sweet tonal quality was high-pitched, rendering a combo of slokas - a couplet from Tantric Devi Suktam and the popular `Aigiri Nandini'... which went haywire in the name of innovation.
The vocal sounded between the regular song and the Adi Sankara's `Ashtalakshmi stuti'. What went unhindered by the foibles of the vocal remix was the western and eastern orchestra that did not lose track but played on as melodious as it did earlier. The music concert under the aegis of the Department of Culture and Idea is a part of the series of the 14th annual Lakshminarayana Global Music Festival.
R.K.
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