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Of a great `Parampara'

B.R.C. IYENGAR

A better sequence of pieces would have been more pleasant for the connoisseur.

ENJOYABLE CONCERT The method in Revathi Krishnan's veena recital was pleasant, despite speedy rendering.

Revathi Krishnan's solo veena concert was the monsoon programme for Kalasagaram this month. Revathi belongs to the great parampara of Shivandam Pillai and has been one of the successful players of the present times, when veena players in general are on the decline. There are significant baanis (styles) in veena playing amongst which Pillai's is considered to be one of the most reputed. It is, however, hard to say if Revathi has imbibed the style in its purity for the simple reason that she appears to be in a hurry in her playing (Madhyamakala). Nevertheless, the method was still pleasant and enjoyable. The one failure in such a speedy rendering is the loss of gamaka that is so vital in Carnatic music and so fundamental in an instrument like the veena. In addition, Revathi uses the meettu (strokes) so liberally that the grace of playing takes a beating. Veena is an instrument, which gains grace in slow playing, and it is a misfit for speedy rendering. Imparting gayaka lakshana would be an added advantage in veena playing. It would also be advisable if the player virtually sings at times to convey the sahithya as some of the past players like Emani Shankra Sastry used to do.

The concert had a mixed fare of items but the order and sequence could have been better planned. For instance, the first few items were monotonously same in the sense that the rhythm or the kalapramana as well as nadai were dreary and the contrast was strikingly wearisome. She started with a varnam in Kamach and moved on to Sri Mahaganapathi in Naatai. Sadhinche, the Pancharathna in Arabhi added fervour to the tempo. This was followed by Durmargachara in Ranjani. All the items thus far were in the same kalapramana and in chathusra nadai and for a connoisseur, it was disappointing in terms of variety in rhythm. Introduction of Misrachapu tala earlier would have added dignity to the concert. This feature of failure is common with contemporary artistes because most of the concert items are pre-arranged and the element of impulsive manodharma seldom plays its part. It was in the item Shankarabharana that Revathi gained her competence and skill. The raga was played elaborately and had a good coverage although in its entirety, it cannot be said as outstanding. The thanam was reasonably good but she ought to include more varieties of nadais for, thanam is an item, which has rhythmic ecstasy too. The items included several rakthi ragas as Ragamalika, which was well received. The composition of Thyagaraja, Edutanilachithe was pleasingly presented. The percussion duo, Skanda Subranmanyam on the mridangam and Somayajulu on the ghatam had a merry time as the concert basically was formatted to medium tempo. The thani was pleasing and scholarly. The entire concert was well attended and rightly applauded.

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