Cogs, the melodic kind
SULOCHANA PATTABHIRAMAN
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Marked with artistic excellence, M. Chandrasekharan and G. Bharati's violin duet was enjoyable all the way.
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PACKED WITH MUSICAL INTENSITY: Chandrasekharan and Bharati. Photo: R. Shivaji Rao.
The violin duet by Sangita Kalanidhi elect M. Chandrasekharan and G. Bharati, his daughter and disciple, was flagged off with spirit with the popular Adi tala varnam "Jalajaksha" in Hamsadhwani. A brief but sweet alapana prefaced Dikshitar's "Siddhi Vinayakam" in Shanmukhapriya. The neraval interspersed with oral articulation by the vidwan, and the stream of swaras had the right kind of equipment to register audience attention.
Bharati's Reetigowla delineation had many melodic cogs packed with enough musical intensity. Subbaraya Sastri's "Janani Ninnuvina" with both instrumental and vocal expression, was a finely defined version. After the Tiruppavai "Ongi Ulagalandha" in Arabhi, an energetic "Thathva Meruga Tharama" in Garudadhwani created an aura of joie de vivre.
Chandrasekharan's Keeravani with soft, smooth non-strident prayogas dipped in tradition were testimony to the vidwan's mature creative faculties. Tyagaraja's "Kaligiunte" that has a wealth of the raga embedded in its structure was played and sung simultaneously and epitomised dignified, qualitative presentation. The catena of swaras by the duo in the two speeds, and the adroit support by mridangam vidwan Guruvayur Durai, and E.M. Subramaniam on the ghatam, kept the rasika firmly ensconced in an atmosphere of artistic excellence.
NECTARINE PHRASES: T. N. Krishnan flanked by Sriram (left) and Viji Natarajan. Photo: V. Ganesan.
The laya interlude by both vidwans who have maintained lofty standards through the years gave an added thrust to the programme. The mellifluent strains of Begada that emerged delightfully in Bharati's alapana received spontaneous appreciation. The tanam, the pallavi set in Khanda Jathi Triputa Tala with a take off point at 1/4 `Idam' after Samam, the swaras with a spot on korvai, and the ragamalika in Varali, Brindavana Saranga, Sindhubhairavi with traces of Purandaradasa's "Venkatachala Nilayam" and Sivan's "Chandrasekhara" were garnished with much sweetness and a judicious measure of spice.
The New Year was welcomed with the distinguished vidwan T.N. Krishnan's violin concert along with his daughter Viji Natarajan and son Sriram. The artistes on the mridangam and ghatam were Tiruvarur Bhaktavatsalam and Vaikom Gopalakrishnan.
The Ata tala varnam in Kambodi played in two speeds, which opened the programme, left the audience in high spirits. The initial strains of Chakravaham and the entire sketch with nectarine phrases shoved into the backburner all other perceptions except sweet melody. "Gajananayutham" of Dikshitar with brisk swaras in the dhaivata kuraippu and the finishing korvai took the genre of Sarvalagu solfa improvisation to appreciable heights.
Sriram's Ananda Bhairavi was invested with aesthetics, and the final touches by the guru literally caressing the raga nuances were as smooth as velvet. "Mari Vere Gathi" of Syama Shastri with its delectable chittaswaram and sahityam, played with sublimity, emphasised that Carnatic music, even instrumental, is dominated by devotion. The vivacious swara passages for "Brovabaramaa" in Bahudari by the trio with the flair of a conjuror received resounding rasika applause.
Shanmukhapriya woven with glowing vignettes to adorn the larger mosaic found the listener floating several levels above cloud nine. The passage of time has not diminished even an iota of Krishnan's superb tonal quality and playing felicity. The tanam in Begada, Kanada, Bilahari, Sri ragam, Mohanam, and Kapi with the decibel level absolutely ear friendly, was a refreshing garland.
The Pallavi was an uncomplicated, simple structure set to 2 Kalai Adi Talam with a 3/4 eduppu after samam. The neraval and swaras sustained aural interest to the optimum. Bhaktavatsalam is a complete laya vidwan who endears himself to rasikas not only by his versatility and virtuosity, but also by his showmanship. The ghatam vidwan has long years of performing experience and the tani avartanam shared by both percussionists was a praiseworthy presentation of the quintessence of laya governing Carnatic music.
"Marubari" with an enchanting prelude of Khamas, the Sindhubhairavi raga and "Visweshwara" of Swati Tirunal with an upsurge of melody, and the concluding composition in Suruti paid rich aural dividends. It must be said that Sriram's confidence and presentation levels have improved by leaps and bounds. It was gratifying that the amplification system for all the concerts in the festival was of a commendable order.
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