In happy harmony
SULOCHANA PATTABHIRAMAN
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All the members of Kanyakumari's Vadhyalahari proved their mettle providing an absorbing concert.
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TUNEFULLY INNOVATIVE: The Vadhyalahari ensemble led by violinist Kanyakumari. Photo: R. Shivaji Rao.
Fiery critic Subbudu used to refer to M.L. Vasanthakumari as the veeranganai of south Indian music. Her protégé, the enterprising violinist, Kanyakumari, can also be labelled a veeranganai.
Among other innovative efforts of hers, the Vadhyalahari concept comprising a violin, nagaswaram, veena or flute along with percussion instruments has gained currency over the years.
The Vadhyalahari ensemble at the Brahma Gana Sabha raised the curtain with GNB's varnam in Andolika and Harikesanallur Muthaiah Bagavatar's invocatory song in Hamsadhwani. "Gam Ganapate" with a spate of swaras by Kanyakumari, M.K.S. Siva on the nagaswaram and Mudicondan Ramesh on the veena, were played in emphatic fashion.
The kuraippu in the tara shadjam by the trio with breathtaking vitality and the korvai reaching the takeoff point with authority activated one's sense of appreciation. The Tyagaraja kriti in the vivadi raga Vanaspati was a pleasant diversion, while Subbaraya Sastri's masterpiece "Janani Ninnuvina" in Reetigowla provided a rare fillip addressing the musical consciousness of the rasika.
The fast swara sequences for the slow paced "Thamasamu" and slow passage for the dhurita kala lyrics were interesting. Hamsavinodini, a panchama varja janya raga of Sankarabharanam, was played alternately by the three artistes, quite effectively bringing the core of the melody to the fore.
Yet another song of Muthaiah Bagavatar "Saranam Bhava" with T.M. Tyagaraja's tuneful lyrical attire convincingly conveyed the raga's singular nuances.
Bhairavi was elaborated in stages by the artistes, stressing the fact that all three are proven performers. Kanyakumari was at her best in the higher octave.
Although he ran into a minor mishap, the nagaswaram vidwan played an essay with sound, logical prayogas, while the veena produced healthy phrases reinforcing positive musical values.
Dikshitar's "Balagopala," the neraval and swaras were objective in terms of melodic substance and an earnestness for accountability. The korvai romped home with unswerving precision laying the platform for a meticulous percussion duet by Sathish Kumar on the mridangam and Sundar Kumar on the kanjira. "Kuraiondrumillai" of Rajaji, "Thandhanana" by Annamacharya in Misra Bowli and "Bagyadha Lakshmi" in Sriragam by Purandara Dasa had the audience swaying to the music.
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