Vibrant notes from the veena
T.K.GANAPATHY
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Jayasri and Jayaraj’s veena duet was full of sukha bhava and Maharajapuram Srinivasan performed with fluid ease.
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Photos: M. Periasamy and S. Siva Saravanan.
DEFT: Jeyaraaj Krishnan and Jayasri Jeyaraaj Krishnan.
Despite the fact that instrumental concerts are not quite popular these days, there are still practitioners on the instrument like the couple, Jayasri Jayaraj Krishnan and Jayaraj Krishnan who play the veena with commitment and dedication. Their ve
ena duet under the auspices of Manoranjitham at the Sree Ayyappan Puja Sangham complementing each other was of a high order, marked by aesthetic sensitivity.
The deft handling of their instruments (a modified version of the traditional Saraswathi veena) produced vibrant notes from the beginning to the end, replete with sukha bhava and laya expertise.
The melodious commencement of the Naattakurinji varnam evoking a sense of well-being was followed by Jayasri’s alapana of Hamsadhwani with appropriate prayogas for the kriti, ‘Vaatapi Ganapathim.’
‘Deva Deva Kalayamahe’ in Mayamalawagowla was a suave version. The Purvikalyani alapana played by Jayaraj was embellished with a flurry of phrases and impressive gamaka nuances and it registered well with the listeners.
‘Sree Akhilandeswarim’ in Dwijavanti and ‘Annapoorne Visalakshi’ (Saama) had an eclectic content. Their agenda included, ‘Thelisirama’ (Purnachandrika) and ‘Sri Krishnam Bhaja Maanasa’ (Thodi).
The sunaadham emanating from their izhaippu in the musical phrasings of Thodi alapana for the kriti, ‘Sree Krishnam Bhaja Maanasa’ took the listeners to dizzy heights. The niraval and swaras played for the kriti bore testimony to their intense sadhakam.
Prakash (mridangam) and Suresh (ghatam) provided solid rhythmic support.
Aggressive voice
Maharajapuram Srinivasan.
Maharajapuram Srinivasan’s kutcheri under the aegis of Maharajapuram Santhanam Foundation held at Sree Ayyappan Puja Sangham was an affirmation of his ability to negotiate sangatis and octaves with fluid ease.
A harmonious blend of sampradaya with classic creativity could be seen in his handling of the items he had chosen for the recital. After a bhava-laden presentation of the navaragamalika varnam, Valachi, his grammar-friendly interpretation of ‘Vinayaka Vigna Vinayaka’ was ear-worthy. ‘Ninnarul’ in Panthuvarali was rendered with feeling and restraint.
‘Raghuveera Ranadeera’ in Huseni was a tranquil rendition. Streaks of charming and impressive phrases of profundity were seen in his raga vinyasam of the evergreen appeal of Mohanam for the kriti, ‘Mohanarama’. He could have toned down the slightly aggressive edge he gave to the brighas in his delineation of Thodi for the kriti, ‘Daasarathi.’ The swaras following the niraval were laced with vaadi-samvaadi poruthams. The composition, ‘Sree Venkatesam Bhajaami’ exuded charm. The fare included ‘Paal Vadiyum Mugam (Nattakurinji), ‘Nagagandhari Raganuthe,’ ‘Neerajadala’ and ‘Velan Varuvaanadi’.
Madhav (violin) and Subramanian (mridangam) were the accompanists.
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