Parur trio perfectly in tune
V. BALASUBRAMANIAN
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The Parur trio offered a brisk package while Gayathri Girish was all melody in her vocal recital.
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IN UNISON: Parur Anantharaman (centre) flanked by Krishnaswamy (right) and Sundaresan. Photo: K. V. Srinivasan.
Rasika Ranjani Sabha's 10-day long festival got under way at Asthika Samajam, Alwarpet, on January 3, with the performance of the Parur violin trio — M.S. Anantharaman and his sons M.A. Sundaresan and M.A. Krishnaswamy.
Probably, the AIR experience enabled the trio to pack songs efficiently in a 90-minute concert. Precision was the hallmark. The Kanada varnam was not audible as the person in charge of the sound system was grappling with his mixer. It was amazing that 80-year old Anantharaman could detect the `hum' whenever it raised its ugly head whereas the man at the console just seemed to be oblivious to the feedback. That things got better the next day is a different story.
"Pranamamyaham" (Gowlai-Mysore Vasudevachar-Adi) was fast-paced followed by a faithful rendering of Tyagaraja's "Chinna Nade" (Kalavathi-Adi). The sound of the three perfectly tuned violins was pleasing to the ears. When each of the artistes played in different octaves, it was even more captivating.
After exhausting almost all the phrases up to panchamam in Varali, Anantharaman handed the baton to Krishnaswamy who played the rest of the alapana hurriedly. It could have been a tad slower as Varali is most beautiful at a slow pace. The nagging feeling was addressed by Sundaresan who took up the alapana in the mandarasthayi. The phrases were slow and pristine.
"Seshachala Nayakam" (Adi, Dikshitar) took off at a brisk pace with a brief neraval in the charanam followed by interesting exchanges in the kalpanaswaras. Sahana's spiritual beauty was essayed by the trio with ease. "Giripai" (Adi, Tyagaraja), rendered faithfully, was followed by a brief tani by Madirimangalam Swaminathan on the mridangam and E.M. Subramaniam on the ghatam.
When one was just getting ready for a treat of a major raga from this experienced trio, a piece in Kapi and a Tiruppugazh in Hamsanandi played in two speeds marked the end of the concert much to the disappointment of the few rasikas. Mention must be made of the control Anantharaman had on his instrument at high speeds even at this age.
That supporting artistes can make a concert was proved by H.N. Bhaskar (violin), Poongulam S. Subramaniam (mridangam) and K.V. Gopalakrishnan (kanjira) who helped Gayathri Girish touch great heights during her recital. Blessed with a voice that has a good range, and which she uses without inhibitions, Gayathri is sure to go places. She should however pay more attention to sruti alignment, which goes awry at times.
"Thathvamariyatarama" (Ritigowlai, Adi, Papnasam Sivan) was presented with full vigour and energy.
To hear "Sarasijanabha Sodhari" (Nagakanthari, Rupakam, Dikshitar), which has almost gone into oblivion, was refreshing. Oothukadu's "Venkata Ramanam" (Poorvikalyani, Mishram) was preceded by a bright alapana in which Gayathri touched upon all the facets of the raga.
Bhaskar did not lag behind on the violin. Poongulam and Gopalakrishnan joined the fray when the penultimate line was improvised.
It was a relief to hear kalpanaswaras in the right dosage. Ramalinga Adigal's Tiru Arutpa was formatted into a viruttam and the song set to Tisra Nadai Chathusra Jadi Tirupudai Talam in Gowri Manohari had sentimental overtones. "Sarasamadhana" (Kapinarayani, Adi, Tyagaraja) came in handy like an end-change bowler in cricket.
The extensive melodic capability of Gayathri was proved in the Madyamavathi exposition. Her brikha-oriented alapana with vakra phrases now and then reminded one of MLV. Bhaskar was equally good. Predictably, the kriti that followed was ``Rama Katha Sudha" (Adi, Tyagaraja). And the line chosen for neraval was "Bama Mani Janaki Sowmithri." The essence of the raga was presented although some portions of the kalpanaswaras looked contrived.
Gayathri wound up her concert with her guru Madurai T.N. Seshagoplan's tillana in Chandrakauns.
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