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CREATIVITY The duo showed exquisite control over the instruments

Mysore M. Nagaraj and M. Manjunath’s violin concert accompanied by H.S. Sudhindra (mridanga) and G. S. Ramanujan (ghata) was exemplary in accomplishing great dynamism and creativity.

Whereas the first few presentations portrayed their exquisite control over the instruments where in the audience could identify the brothers’ virtuosity. The latter half of the concert attended solely to the requirements of pronounced melody and creativity, wherein the listeners appreciated the very purpose of that virtuosity.

The artistes opted for a truly slow tempo aptly supporting “Ranganayakam” (Naayaki- Dikshitar). They further enriched the composition with delicate and majestic graces, stressing on fine vibratos not wholly amounting to tremolos, a feat Naayaki demanded.

Exercising discretion, the brothers artistically included some more effects in Muthayya Bhagavathar’s “Bhuvaneshwariya Nene” in Mohanakalyani (comprising Marcatos providing the necessary lilt) and Thyagaraja’s “Venuganaloluni” in Kedaragowla (flashing a few strains of spiccatos in the kalpanaswara sections). Such judicious feats carried subtle shades of western techniques of bowing and fingering - a sure sign of versatility.

Diligent dexterity transformed into creative artistry culminated in alluring melody in “Mokshamugalada” (Saaramathi - Thyagaraja): the artistes’ synchronised expressions being deepened by long amplitude gamakas, increased the thirst for more experience.

Scholarly alapana in Todi, pleasing “Koluvamaregada Kodandapani” (Thyagaraja) and melody-charged kalpanaswaras in “Ragamalika” (Natakuranji- Shahana- reaching the peak in Chaarukeshi) consummated the experience.

S. Shankar gave his vocal recital accompanied by H.K. Narasimhamurthy (violin) and M.T. Rajakesari (mridanga). The mature trio’s unswerving commitment to uphold the dignity of the compositions and to cream off the essence of the art form successfully culminated in constructing a cohesive concert.

Shankar sings with a magisterial voice supported by a style, endearingly assertive. A hue of majestic humility and a tone of disarming gentleness enwrapped in simplicity make all the difference; a rare approach which can tap of the doors of the intellect of a mature cast. For most part of the concert, he chose a tempo falling between vilamba and madhyalayas. When such a controlled progression was inserted with a few madhyamakala krithis, neravals and kalpanaswaras, one could mark in him a refined aesthetic sense.

Consider for example, “Sarasijanabha” (Varna-Kamboji- Swathi Thirunal) or “Juthamurare” (Krithi – Arabhi - Thyagaraja) developed systematically with clear diction: his manodharma invariably complementing the nested moods.

He elaborated Arabhi progressively building it on airs of melodic phrases provided with appropriate pauses, thereby intensifying the overall impact. When he recited the lyrics, expanding it at Agama Sancharudata and appended it with rasa-oriented kalpanaswaras, it was the sole music that reigned the hall, the musician ideally remaining subservient to his art.

Many compositions thrived on similar grounds: “Pankajalochana” (Kalyani – Swathy Thirunal - neraval at “Brindavanantharanga”) and “Shri Krishnam Bhaja Manasa” (Thodi- Dikshitar - neraval and kalpanaswaras at Pankajasanadi Devam) and so on.

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