|
Music Season
MYLAPORE FINE ARTS CLUB
Striking precision, firm expression
M. SOWMIYA
|
Athira’s violin play was electrifying and Suganda Kalamegam gave an aural treat to music lovers.
|
Photos: M. Vedhan.
Aesthetically rich: Suganda Kalamegam
Young Athira flagged off her violin solo concert with the grand Viribhoni varnam set to Ata tala, played in two speeds. Even in the beginning, one could see the dexterity of her hands in the striking precision in her presentation. ‘Vatapi Ganapathim Bhajeham’ (Hamsadhwani-Adi-Dikshitar) was the next in order which was followed by a stream of kalpanaswaras. The alternating swaras in tisra and melkala chatusra showed her grip over laya. It was electrifying.
‘Akhilandeswari Rakshamam’ (Dwijavanti-Adi-Dikshitar) was preceded by a pleasing alapana which had touches of Hindustani music, true to its origin. In fact, Athira seemed to revel in the ragas like Dwijavanti and Behag with an ease.
It is obvious that she has acquired a technique from powerful bowing giving her the facility for speed and precision and making her confident in exploiting this skill to become an excellent solo artiste. But she should be cautious not to lose the natural refinement and resort to over indulgence in emphasis of sorts.
Athira.
In ‘Brova Barama’ (Bahudaari-Adi-Tyagaraja) and ‘Saraswathy’ (Saraswathi-Rupakam- GNB) it seemed Athira had sacrificed the feel for the sahitya for the sake of an overall effect. Although an instrumentalist is licensed to use technique to show the beauty of instrumental music Athira would do well to give sahitya bhava due importance. She used veraladi to her advantage in dealing with speed. But it would be better if she could incorporate more glides (ezhaippu) to bring the vocal effect.
‘Nannupaalimpa’ (Mohanam-Adi-Tyagaraja) was the main piece of the concert that afternoon. An elaborate Mohanam with a fairly good delineation is worth mentioning. The patantara suited her style rather than to communicate the bhava of the kriti. Kalpanaswara befitted the rendition. Lack of elongated swaras was conspicuous. If she had brought meaningful pauses where pertinent, she would have contributed to her concert in making it more enjoyable!
Kumbakonam Saravanan (mridangam) gave an excellent support with his energetic playing. Anirudh Atreya (kanjira), was incessantly playing. He can add value to the concert by listening more and joining at appropriate junctures. The morning concert of Suganda Kalamegam was an aural treat for the lovers of classical music. The pristine presentations reflected her maturity and seasoned musicianship. ‘Varanarada’ (Vijayasri-Adi-Tyagaraja) came with all verve and vigour. Alapana in Mohanam (‘Bhavanutha’-Adi-Tyagaraja) was full of prayogas soaked in ragabhava. The gentle, charming phrases flowed with ease, with utmost precision and firmness of expression. The fast-paced ‘Sarasiruhasana’ (Mukhari-Adi-Tyagaraja) with its dazzling kalpanaswaras was an apt addition. The niraval in ‘Nadabindu-kalaa-svarupini’ in Kamakshi (Simendramadyamam-Rupakam- Dikshitar) was rich in its variety, interpretation. A short bhava-filled alapana in Yadhukulakhambodi (‘Tyagarajambhajare Tapatrayam Tyajare’- misra chapu-Dikshitar) deserves special commendation. The treatment of jeeva swaras and the special pidis made it a heart-warming rendition. Feast of the day for the listeners was Thodi (‘Dachukovalena-misra chapu-Tyagaraja). The uninterrupted flow of the raga was punctuated by the judicious mix of speeds with telling phrases with such precise characteristic gamaka movements, it was simply magnificent. Classicism is all about freedom within restraint with right balances and proportions. In this respect, her concert was a perfect model worthy of emulation. Her performance reflected strength and confidence born of mastery of all the elements in classical music!
In the days of loud amplification, the moderate and appropriate volume for her concert added to the richness of the aesthetic experience of the listeners.
R.K.Sriramkumar (violin) was remarkable for his gentle and supportive role with his sensitivity in not drowning the soft and sweet voice of the singer. J. Vaidhyanathan (mridangam) was in his full command in following the naturally elegant vocal style of Suganda Kalamegam, essaying with dignity at every turn.
Udippi Sridhar (ghatam) proved himself as a fine accompanist joining hands with Vaidyanathan especially in the thani.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
|
