Perfect tuning
K.C. ASOK
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Ravikiran's concert transported the audience to a world where time ceased to matter.
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STRINGS OF MELODY: Ravikiran on the Chitraveena.
The music of Ravikiran's Chitraveena was as soothing as a lullaby, creating an ethereal experience for the audience at AKG Hall in Thiruvananthapuram. His concert was held as part of the ongoing Soorya music and dance festival in Thiruvananthapuram.
The arrangement of strings in the Chitraveena allows two octaves (middle and low octave) to be simultaneously played. This adds an extraordinary depth to the music.
This innovation was the brainchild of Ravikiran's grandfather, Narayana Iyer.
History of the Chitraveena
According to Ravikiran, it was his grandfather, a court musician, who first introduced the string pattern, which he employs in his instrument, as well. However, if one has the expertise, the musician can traverse through five octaves on this instrument. This ancient instrument's original name was Chitraveena, which was later called Gottuvadyam by Sakha Rama Rao, guru of Semmangudi and Narayana Iyer.
"Finding the name `Chitraveena' more suitable, I have tried to revive this name," says the artiste.
Starting with an Adi tala varnam in Saveri raga, the concert featured some popular ragas such as Malaya marutha, Kannada, Poorvikalyani, and Kappi.
Each of the ragas received a lot of attention, leaving the listeners guessing as to which was going to be the main item.
The Thygaraja kriti `Manasayadulo... ' in Malaya marutha, set to Roopaka talam, was played with ragalapana, niraval and kalpana swaras. A Swati kriti in Kannada, `Kalayami... '(Misrachappu talam) was the next item to be followed by another Swati kriti `Deva Deva Jagadeeswara... ' in Poorvikalyani.
With the soul-stirring Kappi raga elaboration came the composition `Neevalla Guna Doshamu... ' in Kanda Chappu talam.
Next, on a request from the audience, the instrumentalist played `Raghu vamsa sudha... ' in Kadanakudoohalam. Shanmukhapriya was chosen as the main raga.
By then, the performer and the audience had entered a mesmerising world of flawless music, where time seems to have stood still. A composition by Patnam Subramanya Iyer (`Marivere... )' in Adi talam was followed by an abridged but stimulating thani by Uduppi Balakrishnan (mridangam) and Thiruvananthapuram V. Karthikeyan (ghatom). S.R. Vinu admirably accompanied Ravikiran on the violin.
Tonal synchronisation
Throughout the concert Ravikiran, who is also a Carnatic vocalist, made is a point to ensure that all the strings of his instrument were perfectly tuned. He even paused a few times in between to make sure that the tones were synchronised to his satisfaction. The musician was completely engrossed in his music.
What makes Ravikiran a master in his field is his insistence on perfection.
Says Ravikiran, "I used to practise 14-15 hours a day in my formative years and even today I do sadhaka whenever I get time".
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