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Insight by Dr. Jyotsna Srikant
Fountain, Rs. 200
Jyotsna Srikant is a medical doctor who’s also a serious student of music. This all-rounder Carnatic musician has given several concerts, and has also played in many jugalbandi concerts, jazz, and fusion concerts. Apart from accompanying leadin
g performers in Carnatic Music she has also worked with renowned film composers like Ilaiyaraja and Hamsalekha. Jyotsna has even scored music for TV serials and cassettes. In effect, breaking barriers that classical musicians generally set for themselves.
The customary varna is in Kalyani by Pallavi Gopalaiyyar. It’s a racy piece and gets over before you figure out what the violin duet mentioned on the cover is. “Gajananayutam” the Muthuswami Dikshitar piece in Chakravaka has a very brief alaap and Jyotsna moves to the higher octaves in top gear. There is no dwelling on the notes in the mandra, and so the poignant Chakravaka barely touches upon its mood, but for some eloquent phrases.
In Ritigowla, Jyotsna brilliantly achieves the vakra nature of the raga. This janya of Kharaharapriya is ubhaya vakra raga, it has asymmetrical progressions both in the aroha and the avaroha of the scale. It is this that makes it very challenging to render. Of the two famous compositions in the raga, Tyagarajas’s “Paripalaya” made famous by M.D. Ramnathan and Subbaraya Shastri’s “Janani Ninnuvina”, Jyotsna chooses the latter. She weaves silken phrases to make a neat alaap. Thavil by Anoor Ananthakrishna Sharma sounds brilliant imparting a stately feel to the piece. The double violin, which is Jyotsna playing twice in two different tracks sounds good during swaraprastara. It gives more power to the piece and also builds up a chorus effect.
“Raghuvamsha” by Patnam Subramanya Iyer in Kathanakuthuhalam is mostly used as relief material by Carnatic musicians. These tunes in the Carnatic repertoire are called “English notes”, and are mostly used to break the seriousness of the performance. But in this case, it doesn’t make much difference, because the entire album is set in a racy pace. The playing brings the veena maestro Chittibabu to mind. The composition is packed with highs, lows, voice-like inflexions, and is quite a challenge which Jyotsna does it with remarkable ease.
Her Vachaspati is the best in the album. A leisurely alaap of the ancient 64th mela is a good preface to the brilliant Tyagaraja’s piece “Kantachoodumi”. Jyotsna brings out amazing birkhas and gamakas, nevertheless retains the emotion quotient. The firm, confident strokes of Sudheendra on the mridangam is indication of his imagination and expertise. During the tani avarthanam the two, thavil and mridangam, work out some complicated and intricate patterns, but is yet played with great restraint.
The tillana in Ratipatipriya, composed by Jyotsna herself, gallops in a speed that seems fast even for tillanas. It is an interesting composition built with sharp variations.
There are no doubts about Jyotsna’s calibre as a very talented violinist, but wish pace would be replaced by pause.
In the absence of a contemplation, one wonders if speed is now more a norm than an anomaly.
DEEPA GANESH
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