MUDHRA
Determined and committed
S.SIVAKUMAR
|
The control over tone and vocal-like modulations made the violin duet graceful.
|
Mudhra presented a violin duet by Lalgudi G.J.R. Krishnan and Vijayalakshmi, at the Infosys Hall where the 12th Fine Arts Festival is on. The violinists commenced with a varnam in Nilambari, and the talent and temperament of the musicians had already been communicated.
`Theliyaledhu Rama' (Dhenuka - Tyagaraja) began with the right persuasive tone and the sahithya bhavam of the anupallavi and charanam, was "captured and played back" on the violin in a spirited manner. Raga alapana for Saranga (`Nee Vaada Ne Gana') had fine phrases to suit the texture of the raga. The raga development of Begada by Vijayalakshmi (`Tyagarajaya Namasthe' - Dikshitar) had a pleasant leading curvature and put equal focus on manodharma and mandatory phrases. The total control they held on the tonal quality of the instrument and the vocal-like modulation methods served to add an element of grace to their playing.
The performance also conveyed a different story — in the fashionable fusion embracing world of music today, sampradaya could win by the depth of its roots. "Arulseyya Vendum Ayya" of Koteeswara Iyer in Rasikapriya, (72nd melakartha) was presented with a certain mysticism associated with all vivadhi ragas.
Krishnan's Kharaharpriya ("Rama Neeyada" - Tyagaraja) had an unconventional approach as it began and led to a culmination leaving flecks of gold as it walked with gaiety. It was a statement of Kharaharapriya written in the best of fonts.
The RTP chapter of the concert was in Vasantha and the sharing of the tanam between the violinists was in keeping with changed bowing techniques needed for tanam playing.
The pallavi had been arduously worked out and had `Anandha Natana Prakaasa, Sabesa Natesa Jagadeesa' for its lyric.
The pallavi (Rupakam) by Lalgudi Jayaraman, was set in Misra Rupakam-Misra Nadai with 63 aksharams.
The pallavi presentation was clearly the product of endless joint practice-hours and showed a kind of determination and complete commitment.
The pallavi ragamalika had Kedaram, Surutti, Kaanada and Poorvikalyani in that order.
Satish Kumar on the mridangam and E.M. Subramaniam on the ghatam played with accuracy during the pallavi and their tani was an expression of their vidwat and proper understanding of the duration of the rounds.
Mudhra had this much to say — a three-hour concert would be the most ideal, for the performers and for the rasikas to properly settle down, tune and fine-tune their minds and achieve immense satisfaction.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
