Fusion of notes, rhythm
|
A jugalbandi by two seasoned musicians showcased their experience and versatility.
|
TUNED TO EACH OTHER: Vettikavala Sasi Kumar on the nadaswaram, and Thiruvananthapuram R. Mahadevan on the violin.
A MUSICAL jugalbandi, generally speaking, is not the most enjoyable of experiences to the lover of Carnatic classical music. As far as one can
tell, we were first introduced to these programmes by Soorya. But purists have always looked upon it with disfavour. For one thing, this tradition of having two different artistes skilled in two different media perform together on the same stage appears to have been borrowed from the North. Further, an element of competition sometimes appears to creep into such performances, and all too often this attracts the wrong kind of audience who behave as if they were watching a wrestling match. Sometimes, indeed, the concerts do take on the characteristics of a wrestling match; the different streams of music clash and grate with each other and the result is a cacophony which the true connoisseur of Carnatic music would travel miles to avoid.
Happy exception
The jugalbandi that was performed at Vylloppilly Samskriti Bhavan on was, however, a happy exception. The performers were Vettikavala Sasi Kumar on the Nadaswaram, and Thiruvananthapuram R. Mahadevan on the violin. They were accompanied by Nagarkovil N.K. Ramdas on the thavil, Thiruvananthapuram L. Gopalakrishnan on the mridangam, and Anchal Krishnayyer on the ghatom.
The ambience of the venue was itself conducive to music performances, and since it was outdoors, the time spent there was spent comfortably, under tall trees moving gently in the breeze. At the end of the concert, the performers could be seen complaining about the poor quality of the amplification used. But the compact audience felt that one could have dispensed with the amplification altogether: the experience of the pure sound of the instruments would have been infinitely more enjoyable.
The musicians started with the traditional invocation of Lord Ganesha with the famous kriti `Vathapi Ganapathim bhaje' of Dikshitar in raga Hamsadhwani. Repetition has certainly decreased the interest generated by this composition, for in concert after concert, it is difficult not to encounter this favourite launching pad. Thereafter, they went on to the Kanada piece `Ma mava sada' followed by `Kripaya palaya saure' in Charukesi, both Swati Tirunal compositions.
Well delineated
The ragas were very well delineated and the musicians seemed to be enjoying themselves. The small but committed audience too appeared to enjoy the performance.
This was followed by the main raga of the evening, for which they chose the ever popular `Nagumo' of Thyagaraja in raga Abheri.
The musicians did justice to this kriti too, though the alapana appeared to be superior to the rest of the performance. The accompanying artistes on the thavil, mridangam and ghatom showed their enviable skill during the thaniavartanam phase. Thereafter, after a brief Sindhubhairavi, the concert was brought to a close with the famous Thillana of Swati Tirunal, `Geedhunadiku' in raga Dhanasari.
Throughout the performance, one could see no hint of the childish competitiveness which has marred many a jugalbandi performance in the past. The musicians also wisely restricted themselves to well known and popular kritis which the small but appreciative audience could enjoy, instead of choosing to display their scholarship by giving vent to a series of strange compositions in rare ragas.
S. Vinaya Kumar Photo: S. Mahinsha
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
