Arresting style, engaging session
PVK
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Sanjeev’s tonal quality, bowing and fingering techniques are a mirror image of his guru, Kanyakumari.
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Quality fare: Sanjeev’s Madhuradhwani
Madhuradhwani
Swathi Soft Solutions
Sanskrithi Series
V. Sanjeev- Classical Carnatic Violin
Audio CD – Price Rs. 225
Guru A. Kanyakumari, a versatile violinist, has trained a number of students, many of who have made a mark as skilful accompanists and soloists. V. Sanjeev is one such [disciple] who has been accompanying senior vocalists and has also made his presen
ce felt as a talented solo player in recent times.
Sanjeev’s violin album has been released as a twin audio compact disc by Swathi soft Solutions titled, ‘Madhuradhwani.’ Sanjeev’s tonal quality, bowing and fingering techniques are a mirror image of his guru. The arresting style and his confidence level contribute to the quality of his playing and provide for a good and engaging listening session.
N.S. Ramachandran’s beautiful kriti, ‘Sri Mahaganapathi’ (Abhogi) in K.Chapu tala is the curtain raiser and gives a good beginning to the proceedings. Following this song is a delectable version of the rare creation of Muthaiah Bagavathar, ‘Ninnunera’ in Devamanohari. The kalpanaswaras for this number never deviate from the raga lakshana and are reflective of the sadhakam put in by the violinist.
A sedate rendering of ‘Janani Ninnuvina’ (Ritigowla-Subbaraya Sastri) is offered with a little extra ornamentation sans raga alapana and solfa swaras.
Rich in bhava
Sanjeev’s Vasanta Bhairavi alapana followed by Tyagaraja’s ‘Nee Daya Raada’ with a good niraval at the sahitya point, ‘Rama Rama’ are reflective of Tanjavur S. Kalyanaraman’s handling of the melody, the kriti and the niraval. These are handled with a lot of bhava and are merit worthy. A brisk playing of the Kannada song ‘Ninnada’ of Tyagaraja gallops in style.
The Simhendramadhyamam vinyasa is good and the popular Mysore Vasudevachar composition ‘Ninne Nammithi’ has an impressive patanthara. The solfa passages succeeding the niraval leave a lingering impression on the listener. A brief percussive interlude by the talented Patri Satish Kumar (mridangam) and B.S. Purushothaman (ganjira) concludes the agenda of the first disc. There is an abrupt finish to the sahitya portion, ‘Pannagendra Sayana’ when taken up after the percussive interlude.
Familiar kritis
The second disc opens with the vivadhi raga kriti ‘Bhagayanaiya’ (Chandrajyoti-Tyagaraja) which is a familiar one amongst the vivadhi raga genre kritis.
Sanjeev’s essay of Kaanada is highly satisfactory and laudable. He does not yield to temptation and avoids any trace of Darbari Kanada in his alapana.
The brief tanam and the frequently heard pallavi ‘Kamalasani Sundari Chandravadani Karunarasa Vilochani’ in K. Triputa tala played in trikalam and in the tisram mode are professionally gone through exercises. The kalpanaswaras in Simhendramadhyamam give way to swara passages in Kedaram and Surutti which provide a silken finish to the pallavi suite. Patri Satish Kumar’s tani avartanam with B.S. Purushothaman is a sheer delight to listen to. The sruti sudham of the mridangam contributes to a great degree throughout this recording.
A Surdas bhajan in Dwijavanti and the violinist’s own composition, a tillana in Pahadi bring the curtains down on this very enjoyable recording. A tukkada in a Carnatic raga would have been welcome.
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