Melodic fare
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T. Padmini’s veena recital turned out to be a showcase of tradition bound exposition of Carnatic music. A. Ramalinga Sastry
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Marked with delectable dexterity in handling the instrument, she cast a spell from the word go starting with the varnam
Photo: C.V. Subrahmanyam
Fine tune T. Padmini
The veena recital by vidwanmani T. Padmini at Sri Raghavendra Swamy Temple recently for Sangeetha Janakulam turned out to be a showcase of tradition bound exposition of Carnatic music with erudition on the instrument.
Marked with delectable dexterity in handling the instrument with an expressively soft touch, she cast a spell from the word go starting with the varnam of Lalgudi in Kaanada. Sustaining the tenor and tempo with fe
licitous charm, she went on playing pranamamyaham (Gowla) concluded with swaram, Mamavasadajanani (Kaanada) adorned with brief but beautiful alapana and swaram, Sri Jhaalandhara (Gambheera naata) before she went in for an elaborate alapana of the Asampoorna Melakartha Roopavathi (12th Melam), a Vivadi r
agam because of the occurrence of Shatsruti Daivatham in its scale. Padmini, combining the poorvanga and uttaranga swaras eruditely, avoided the Vivadi attribute in her aalapana.
Then after playing Brindavana nilaye (Reethigowla), she expansively expatiated Ammaraavamma (Kalyani). Her aalapana culminating in Ragamalika
comprising Mohana, Madhyamavathi, Hindolam, Suddha Saveri and Udayaravichandrika derived out of Grahabhedam technique implemented with professional finish including the rendering of the kriti, nera
vu and swaram, cast a spell on all alike. Dhanwada Dharma Rao on mridangam lent an excellent support. Thillana in Sivaranjani, a composition of Annamayya and a western tune constituted the lilting tail piece.
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