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Music Season
TAMIL ISAI SANGAM
Played with manodharma
M. RAMESH
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Kunnakudi Vaidyanathan’s concert was more like a ‘vadya vrinda’.
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Photo: S. Thanthoni
Dazzling: Kunnakudi R.Vaidyanathan
One may debate endlessly about whether a Kunnakudi concert is in conformity with strict traditions of Carnatic music or not. Or, one may throw the academic debate out of the window and enjoy the music. True, violin maestro Kunnakudi Vaidyanathan’s concert for Tamil Isai Sangam was more like a ‘vadya vrinda’, with no independent roles for the myriad of accompanists — Denkanikottai V. Mani (tavil), Karukurichi Mohanaraman (mridangam), Thirukadavur T.
K. Dakshinamurthy (kanjira), Chennai Srinivasarao (morsing) and Mayiladuthurai T. S. Rajaraman (tabla). Their show was entirely orchestrated, tuned to support the violinist and but for the fact that Kunnakudi played with manodharma, the concert would have been one of light music than Carnatic.
That said, the show dazzled. Musical notes dance at Kunnakudi Vaidyanathan’s fingertips. The main piece of the concert was a brilliant Aberi (‘Vellaithamarai Poovil Iruppal’ of Subramanya Bharati), but it was a concert where every number was a ‘main piece’. In the all-Tamil concert, Vaidyanathan offered Papanasam Sivan’s ‘Tatvamariya Tarama’ (Ritigowlai), Muthuthandavar’s ‘Sevikka Vendum Iyya’ (Andolika), Kallal Ramanathan’s ‘Kai Vida Maatan Kanaka Sabesan’ (Valaji), Periasami Thooran’s ‘Karanam Kettu Vadi’ (Purvikalyani) and the Aberi composition of Bharatiyar.
Except in the alapana of Ritigowla (‘Tatvamariya Tarama’ of Papanasam Sivan), where one felt that hues of Ananda Bhairavi could have been avoided, the rest of it was a treat to listen. Valaji was rendered without an alapana or swaras — a disappointment, but as people familiar with the composition would know, it is a stirring composition, and Vaidyanathan’s exposition fully bore the mood of the raga. The Purvikalyani alapana was again a delight, replete with staccato brigas in high speeds that the violinist is noted for.
Kunnakudi Vaidyanathan is as much as pleasure to behold as to listen. The man enjoys his own music, with gestures and facial expressions playing as much accompanying role as the percussion instruments. His head sways could put a professional dancer to shame. And what a variety of disarming gesticulations! Knitted eyebrows and puckered lips, or wrinkled forehead and mouth wide open in a toothy grin, shoulders rising and falling in rhythm, hands alternating to demonstrate tala....the artist’s enthusiasm cannot but spread to the audience.
Following the thani, Gopalakrishna Bharati’s ‘Aadum Chidambaramo’ (Behag) and Chakravarthy Rajaji’s ‘Kurai Ondrum Illai’ (ragamalika) provided a finale and Vaidyanathan ended the concert with the signature tune of All India Radio.
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Music Season
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