Clear and pristine
JAYARAMAN V.
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Maya Varma’s veena recital adhered to tradition.
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Interesting range: Maya Varma.
Maya Varma, a member of the Ananthapuram family in Haripad who was initiated into the art by her mother, Ahalya Thampuratti, began her veena concert in Thripunithura with a Swati Tirunal varnam in Behag and then moved to ‘Vallabha NayakasyaR
17; in Begada. She paid attention to clarity and fullness of the notes, adhering strictly to the norms of tradition.
Grip over laya
She choose to play ‘Varamaruluka,’ a composition by Durga Narendranath, in Ranjini. Revagupthi meandered sweetly to merge into ‘Gopalaka Paahimaam’ and her grip over laya was manifest, when the artiste indulged in subtle arithmetical manipulations.
A swararagamalika comprising Hindolam, Mohanam, Revathi and Amrithavarshini added lustre to the latter part of the composition. Kadhana Kuthoohalam is believed to have been created by Pattanam Subrahmania Iyer by improvising upon an ancient raga Kuthoohalam. Intermingling of the glides with staccato notes enabled the artiste to give a glistening dimension to ‘Raghuvamsa,’ in which precision in time-measure and harmony dovetailed, as it were, into one another.
Shanmukhapriya was explored with a handful of ‘rakthi’ passages and the notes played on the lower octaves often resembled the human voice. ‘Saravanabhava,’ composed by Papanasam Sivan, was followed by her own composition in a ragamalika.
Cherthala N. Sreekumar Varma played the mridangam in a ‘bhaani’ that was conducive to a veena recital. Haripad R.Sekhar did well on the ghatom.
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