On the lines of Pancharatna
GARIMELLA SUBRAMANIAM
|
The ragamalika varnam that Ganesh and Kumaresh played was rare.
|
MARKED BY PASSION AND VIRTUOSITY: Ganesh and Kumaresh. Photo: M. Karunakaran.
It may be just another spark in a luminous career spanning over three decades. But great masters seldom undervalue even a single opportunity. So it is no surprise that there was added flavour to Sunday's concert by the violin duo Ganesh and Kumaresh marking their 25-year long association with Nadopasana.
This was a raagamaalikaa varnam on Lord Krishna in Sunday's concert. The five ragas chosen from Tyagaraja's Pancharatna kritis must be a rare if not a unique addition to this facet of the Carnatic repertoire.
The pallavi ``Maale Manivannaa," and the anupallavi, were set to Nattai and Gowlai.
And even before one noticed the succession of ragas, the composition moved onto Arabhi and Varali in the muktaay swaram.
A succinct Sri raagam took up the charanam. The subsequent swarams were again in the earlier four ragas, progressing through tala cycles increasing by one each time.
Thereafter, it was business as usual for the duo, one excelling the other during the exposition of a raga or playing swaram. Passion and virtuosity competed for dominance in the Kedaram and Dhanyaasi kritis of Tyagaraja (Rama nee pai tanaku) and Syama Sastri (Meenalochane).
The kalpana swaram following the Bhushavali song was a beauty of a saval-javab between the young masters.
By this time, one could tell the tonal distinctness of the two electrified violins. That is, you knew even with closed eyes that it was Kumaresh who played the alapana in Kambhoji and Ganesh picked up thereafter with Dikshitar's ``Srisubrahmanyaya Namaste." It is not a case of second-guessing.
You have the good authority of Ganesh who confirms that two violins do not sound the same, just as two voices are not alike.
Elaborate
Kanada, in the raagam tanam pallavi, was an elaborate essay in a scale more or less common to the Hindustani and Carnatic traditions.
The brothers excelled in the imaginative manipulations on the many octaves of the violin. Few can dispute the prowess of veteran mridangam exponent Mannargudi A. Iswaran. But the idea that stood out in the percussion duo with S. V. Ramani on the ghatam was that technical excellence need not be a casualty to excessive volume.
Among the tail pieces — and this is when audiences deny themselves so much — ``Janakimanoharambhaje," the Mysore Vasudevachar composition in Maand was played with panache. But noteworthy was the Bhadrachala Ramdas kirtana ``Bhalibhalirama," set to tune in Kapi by Ganesh years ago during a concert tour at Rajamundri.
Suffused with a touch of folk melody, the song opens with the core notes of the raga. In case one has not heard it — and very likely many have not — look for Ganesh's violin album for Sangeeta where he has in fact sung it.
The tillana in Sindubhairavi that followed, another creation of Ganesh on a visit to France, would have been doubly appealing in a vocal recital.
One could argue if Ganesh and Kumaresh got the balance between passion and virtuosity right all through the three hours of their performance. But none can deny that they have both in abundance.
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
