BRAHMA GANA SABHA
Amazing control over instrument
SULOCHANA PATTABHIRAMAN
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The artistes' interpretation was of a quality fit for listening, not merely hearing.
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MELLIFLUOUS: Lalitha (left) and Nandini.
Lalitha and Nandini, violin artistes, enjoy a privileged heritage being the grand daughters of vidwan Lakshminarayana Iyer and nieces of L. Subramaniam.
The opening varnam, `Evaribodhana' in Abhogi with amazing control over the instrument, was played in four speeds in the purvanga, and in the `keezh kala' and `mel kala' tisra tempos for the charanam and ethukadai swaras. `Gnana Vinayagane' in Gambhiranattai, that is popular with the exponents of nagaswaram, was embellished with swaras, uninhibited and rhythmically blemishless.
Swati Tirunal's `Paripalayamam' in Ritigowla was a granary of `Sukhabhava,' with the swaras giving the required fillip. Nandini's Shanmukhapriya with a bagful of mellifluent sancharas boosted the musical quotient considerably. Papanasam Sivan's `Saravana Bhava' carefully avoiding the chatursruti dhaivatam in the pallavi, and the chain of swaras with a panchama kuraippu were effectively punctuated with imaginative solfa designs and topped by a simple korvai.
Sama ragam reflects the different moods of aesthetic consciousness, and Dikshitar's `Annapurne' is a kriti that steals one's heart.
The artistes' interpretation was of a quality fit for listening, not merely hearing. Lalitha's essay of Kharaharapriya with all ingredients happily blended into a mellifluous whole and was systematic, symphonic and sophisticated. The Tyagaraja monolith, `Chakkani Raja Margamu' establishes a melodic equation, while the swaras showcase the innovative proficiency of the duo.
The thani avartanam of Kumbakonam Ramakrishnan (mridangam) and G. Ravichandran (ghatam) resounded with rhythmic beats and patterns woven intelligently to suit the Adi tala, 2 kalai. The final segment of the kutcheri comprised `Maruti Varuvan' in Suddhasarang, a kavadi chindu, `Paaru-k-Kulle Nallanadu' in Jonpuri and Sivan's all-time winner, `Karpagame' in Madhyamavati. The nadham of one violin was similar to that of the saxophone at times, perhaps the amplification could be adjusted to sound more like the violin that would yield more aural pleasure.
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