Practice overcomes age
SVK
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Age is not a deterrent, proved Kalpagam Swaminathan playing the veena for Narada Gana Sabha.
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If at 80, Kalpagam Swaminathan can play on the veena with such firmness and control as at 18, it is a practical demonstration of the value of intense practice.
It is one of the essential aspects of veena music to etch the ragas in alapana with minimal phrasings bringing out their swaroopa, and this was a noteworthy part of her concerts for Krishna Gana Sabha.
Well within the bounds of sastraic politeness the raga vistaras of Kambhoji (Lambodaram Avalambe) Saveri (Etunamminaa) and Pantuvarali, to mention a few, were muffled with tonal warmth. Of particular attention was the Todi swarajati "Raave Himagiri Kumari."
The way she presented her recital emphasised that her upbringing in veena art sprang from sampradaya stock.
The veena support by Vijayalakshmi was a picture of fidelity, though she was given chance once or twice to play alapana.
Balashankar (mridangam) steered his tekas with direction and distinction. Pudukkottai Ramachandran (ghatam) provided meaningful interludes.
Perfect combo
The characteristic style of M.S. Gopalakrishnan and his daughter Narmada is the way they interpret alapanas and kirtanas. They are neatly bolted to disciplined perfection.
With soft slow steps Gopalakrishnan developed Todi alapana followed by the well-structured kirtana `Kaddanu Vaariki."
Father and daughter lavished their virtuosity on this item. Earlier, Narmada played Hamsanandi (Needu Mahima).
The kirtana session included "Rama Bhakti," (Suddha Bangala) "Naadaadina" (Janaranjani with an alapana) and "Sri Pate" (Nagaswarali).
Neyveli Narayanan (mridangam) and Vaikom Gopalakrishnan (ghatam) extended energetic percussive back-up.
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