A creative mind at work
HARISH BAL
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Kanyakumari's violin recital was testimony to her professionalism and profound erudition.
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ERUDITE AND PROFESSIONAL: Kanyakumari's violin blended all 10 ragas smoothly for Swati Tirunal's `Bhavayami Raghuramam.'
Kanyakumari is known to be selective about her concerts, and choosy about the artistes she accompanies. The artiste's solo violin recital for Rasikapriya at Kochi was testimony to her thorough professionalism and profound erudition.
The first piece, a Nattakurinji varnam, was dynamic with a strong melodic content. Her kalpanaswaras for `Mahaganapathim manasa smarami' saw a creative mind at work, giving fresh swara patterns in every half cycle.
Pensive mood
While `Sogasajooda tharama' created a pensive mood, she blended all 10 ragas smoothly for Swati Tirunal's `Bhavayami Raghuramam.' `Sarasasamadana,' a Tyagaraja composition in Kapi Narayani, and `Maye' in Tharangini raga displayed the gayaki style at its best.
Kalyanavasantham was the piece-de-resistance. In this, one saw the flashes of her mentor M.L.V. in the swift jumps from the tara sthayi to a lower note, and long brigas. The solid round timbre of the violin charmed in the long straight notes especially in upper shadjam and other tarasthayi swaras. The rare Dikshitar kriti `Sree Venkatesam' was chosen for rendition.
`Ninnu vina' was played in the second speed from the charanam onwards. The plunks in between the chittaswara passages were indeed charming. K. V. Prasad displayed skill in filling the gaps with some charming gumkis on the mridgangam. He followed the minute details of the sangatis of the kritis meticulously.
Rapport between artistes
Kanyakumari presented a ragam tanam pallavi in two ragas - Shankarabharanam and Valaji. The blending and transition between the two ragas was attempted with finesse and mastery. The pallavi in Adi thala was kept short. Another veteran percussionist Thrikkakkara Shantharam on the kanjira seemed to strike a rapport with Prasad in the thaniyavarthanam.
A Sayi bhajan (`Prem mudit man se kaho'), the Annamacharya composition in Bhujangini raga, `Krishna nee begane' (Yamunakalyani), `Baro Krishnayya' (ragamalika), `Eppo Varuvaro' (Jonpuri)and `Bhagyadalakshmi baramma' (Madhyamavati) were the concluding pieces. The emotion soaked `Om namo narayanaya' in Karnaranjini and Sindhubhairavi piece `Venkatachalanilayam' deserves mention.
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