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The violin duet by L. Subramaniam and Ivry Gitlis marked Air France's Bengaluru-Paris connection
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JUGALBANDI L. Subramaniam and Ivry Gitlis together wrought an improvisation on Carnatic and Western classical streams PHOTO: MURALI KUMAR K.
Air France couldn't have had a better take-off. The virtuoso L. Subramaniam and the legendary Ivry Gitlis wrought the connection between Bengaluru and Paris performing Indian and Western classical compositions to an appreciative audience. The two violinists performed at the Taj Residency on the occasion of the inaugural flight of Air France from Bengaluru to Paris. They performed solo first and then in tandem to herald the new bonding.
Subramaniam began the concert on an auspicious note. As he put it: "In our country, we begin anything that is auspicious with a prayer. That is why I would like to make a traditional Indian classical presentation." He presented kritis in praise of the deity Ganesha in Hamsadhwani. He was, as is always the case, completely at ease in building the raga, and as is his trademark, from sedate beginnings to a crescendo.
Ambi Subramaniam, who accompanied his father on the violin, was hesitant initially but got into the groove as the body of the raga unfolded. Giridhar Udupa on the ghatam and Arjun Kumar on the mridangam brought off good percussion to the notes of the violin.
After Subramaniam and Ambi completed the raga, it was the turn of Ivry Gitlis to take the bow. There's much to say for artistes who don't give a fig about how they look or how they present themselves as long as they know they are good at what they do. Ivry was every bit that. He wasn't also too worried about being polite to a cocktail audience. "Silence is the first word," he snapped to quieten the hubbub before beginning his recital.
Is this the stuff of genius? Is this being maverick? And are geniuses mavericks? This sure is a stereotype but many times mavericks are geniuses. So be it. After the chatterati fell silent, Gitlis presented Beethoven's "Spring Sonata" in first and third movement, Ernest Bloch's "Nigun", Massenet's "Meditation", and Brahms's "Third Sonata".
After four pieces, he addressed the audience. "You want to listen to more? Is this enough? I know there are more important things to do... Like you have to eat. Can I go on? Are you sure?" After a rather muted positive response, he presented Fritz Kriester's "Schon Rosmazin" and concluded the performance.
Dream come true
He said: "It was a great dream to come to this great continent, sub-continent, or whatever. I am actually here. I was lost in a dance performance yesterday. It was a dream come true. Thanks to my friend who hosted me here. Oh! I am actually here and I am performing."
Gitlis then hit upon an idea. He told the audience: "I'll show you how Air France and Bangalore sound on the violin." He collated the alphabets in the two words with musical notes and performed two short pieces, "Air France" and "Bangalore" to loud applause.
But of course he had to make his appeal before that. "You have to clap louder." (The claps sometimes did not seem well timed and this had nothing to do with whether the audience grasped the finer points if the violin.) Gitlis, who made very nuanced recitals with dramatic pauses, was accompanied by Vahan Mardirossian on the piano. "One of the top musicians in Paris. Why, one of the top, the top."
He then announced to the audience that the artistes were still not done and called upon Subramaniam to join him. The two artistes together pulled off an improvisation on Carnatic and Western classical streams. That was a melodious, pleasing experience. Gitlis remarked: "Happy birthday, Air France and Bangalore!" When a guest commended the two great artistes from two different countries for having put together a beautiful evening of music, Gitlis corrected him: "Three."
PRASHANTH G.N.
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