SRI PARTHASARATHY SWAMI SABHA
The understanding was perfect
LAKSHMI VENKATRAMAN
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Three like-minded violinists contributed to a performance that flowed seamlessly.
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Photo: S. S. Kumar
IN PERFECT UNISON: The Parur Trio.
More than the music, what struck at the violin concert of M.S. Anantharaman and his sons M.A. Sundaresan and M.A. Krishnaswamy accompanied by J.Vaidyanathan on the mridangam and Purushothaman on the kanjira was the understanding and comradeship among the five artistes.
Also, while the admiration and reverence the sons had for the father was there for all to see, the appreciation and affection the father and guru showed for them as also the percussionists, particularly Vaidyanathan, was touching.
Vaidyanathan seemed to anticipate every sangati the violinists rendered and it sounded as if he played the song on the mridangam; Purushothaman too was not far behind.
The three violinists had such similar thinking that it was not difficult for one to take off from where another left, be it in alapana or in swarakalpana.
The concert began with the Khambodi raga varnam in Adi tala. The quite brief sketch of Hamsadhwani, Asaveri, Rudrapriya and Hamsanadam by Anantharaman brought out the essence of each of the ragas before the kritis, `Varanamukava', `Chandram Bhaja', `Amba Paradevate' and `Bantureeti' respectively.
The Mohana essay by Krishnaswamy was more brisk and attractive in the latter part.
The Tyagaraja kriti, `Evaroora' with kalpanaswaras was lively, but was nothing special. It was quite interesting to listen to Anantharaman singing along the Dwijavanti kriti, `Cheta Sri Balakrishnam'.
The main raga Thodi was rendered by Sundaresan; but why was he in such a hurry, hurtling down the sangatis? It was followed by tanam by all the three.
The kriti, `Dasarathe' had no niraval or swaras but was followed by a tani avartanam.
The manipulation of the tala by the percussionists was very attractive and the tonal variations on the mridangam made it more appealing.
Vasudha Ravi adheres to classicism in raga alapanas and kriti rendering. Her elaborations of Sahana and Saveri were chaste and unhurried. `Sari Evvare' was the chosen composition in the former raga, while `Sankari Sankuru' was taken up in the latter with niraval and swarams for as always `Shyamakrishna Sodari'.
Able support was provided by Rajiv on the violin and Erode Nagarajan on the mridangam.
The concert included a ragamalika composition on Raghavendra, `Sri Kamalambike' in Sri and a tillana of T.K.Govinda Rao in Sindhubhairavi, which had a folksy tilt.
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