|
Music Season
NARADA GANA SABHA
Brilliant collaboration
S. SIVAKUMAR
|
Maintaining an exemplary standard, Kanyakumari and Embar Kannan provided an elevating experience.
|
Photo: S.Thanthoni
LINGERING EFFECT: Kanyakumari and Embar Kannan.
In reality this violin concert was more in the nature of a collaborative effort — disciplined, ambitious and pleasurable to the core — than one bordering on a certain competitive noisiness often associated with duets.
The two violinists were truly looking at the same page. The aura of delight permeated by the rendering of the Thodi Magnum Opus, “Rave Himagiri Kumari” (Syama Sastri) with the quiet authority of the veteran, Kanyakumari, supported by the inexorable brilliance of the disciple Embar Kannan, was retained throughout the concert.
“Rave” itself blossomed as the excitement of the swaras for ‘Maha Ganapatim’ (Nattai-Dikshitar) was lingering in one’s mind. The divine interpretation of ‘Devi Brova’ (Chintamani-Syama Sastri) was a happy contrast from the speedy rendition of ‘Thatvameruga Tharama’ (Garudadhwani-Tyagaraja) and ‘Saravanabhava’ (Pasupathipriya-Muthiah Bhavgavathar). The quick-witted swaras in Garudadhwani showed their capacity to travel farther and faster.
The concert itself had a representative miscellany of songs. The alapanas for Arabhi (O Rajeevaksha-Tyagaraja), Valaji (Padame Thunai-Sivan) and the main item - Kharaharapriya (Chakkani-Tyagaraja) had surpassingly gifted phrases, with a glow and afterglow. Niraval and swaras were played at “Kantiki Sundara” (Kharaharapriya).
The alapana ended with some tapering phrases with winsome variations and this technique resembled that of thanam although it was not thanam per se.
The phrases uttered with pulsating weight in the lower octaves with simultaneous articulation of the two violins served to elevate the concert as also to deepen one’s experience. The violinists maintained exemplary standards but the inclusion of swaras in ragas other than Kharaharpriya during the swara expeditions at “Kantiki Sundara” did raise eyebrows. Can the integrity of the kriti - “Chakkani Raaja Margam” - be sacrificed for the sake of variety?
Led by Mannargudi Easwaran (mridangam) - another veteran - the laya team of Purshothaman (ganjira) and Rajasekar (morsing) emphasised on many occasions that accompanying is really an art. It was especially evident when ‘Devi Brova’ and the Swarajathi were played. Their thani had well distributed and equally shared rounds that worked admirably to bring the best in each artiste.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
|
