Chennai and Tamil Nadu
It’s a pleasure to listen to artistes who know their music. Violin concerts by Nalina Mohan and H.K. Venkatram was thoroughly enjoyable
Photo: Sampath Kumar G.P.
ENGAGING Nalina Mohan’s impeccable credentials as a soloist were reinforced at the performance
Violinist Nalina Mohan’s solo recital was hosted by the Rajamahal Vilas Sangeetha Sabha last weekend in Bangalore, accompanied by C. Cheluvaraju (mridanga) and M.A. Krishna Murthy (ghata). The crisp rendering of the aditala varna in Kanada was indicative of the tenor of the concert, which maintained a lively tempo from beginning to end. “Sakthi Ganapathim” in Nattai raga and rupaka tala by Muthaiah Bhagavathar was suffixed with fluent kalpana swaras.
Amrithavarshini was taken up for a succinct but mellifluous alapana, followed by Deekshithar’s “Anandamrithakarshini” and kalpana swaras which attested to the artistes control over laya.
A more leisurely pace would, however, have enhanced the appeal of the next item, “Ksheerasagara” in Devagandhari. The compact alapana of Kamboji was a fitting prelude to “Kailasanathena” in misra chapu and the ensuing brisk kalpana swaras. Thyagaraja’s “Atukaradani” in Manoranjani was followed by ragam tanam pallavi in Shanmukhapriya, which began with a detailed alapana and a comprehensive tana accentuated by percussion support.
The simple, but elegantly constructed pallavi in adi tala, “Sada nee padame” was first demonstrated vocally by the artiste and appeared to incorporate a number of swarakshara features.
The neraval with the conventional variations in gati and the ragamalika swaras - in Bowli, Valachi and Hindolam - culminated in a vibrant tani avartana that was definitely one of the highlights of the concert.
The concert, which came to a close with “Baro Krishnayya” (ragamalika), “Narayana”(Shuddhadhanyasi) and the tillana in Dhanasri, reinforced Nalina Mohan’s impeccable credentials as a soloist.
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The Bangalore Gayana Samaja presented an instrumental ensemble comprising H.K.Venkatram (violin), A. Ashwin (veena) and G. Ravikiran (flute), as part of the 40th Music Conference and Birth Centenary of Semmangudi, with percussion by Guruvayur Dorai (mridanga) and Giridhar Udupa (ghata), early this week.
Some perennial favourites were presented during the course of the concert, including the Saveri varnam in adi tala, “Vathapi Ganapathim” in Hamsadhwani and “Teliyaleru” in Dhenuka. The alapana of Anandabhairavi by H.K.Venkatram was brief yet unhurried, followed by Dikshithar’s “Tyagaraja Yogavaibhavam” set to rupaka tala. “Bhogeendrasayinam” in Kunthalavarali raga and khanda chapu tala livened up the proceedings, succeeded by “Jnanamosagarada” in Poorvi Kalyani with alapana notable for G. Ravikiran’s contemplative phrases in the lower register - neraval and kalpana swaras. A. Ashwin’s stage by stage exposition of Todi was marked by deft touches and deep gamakas. “Sreekrishnam” in adi tala ended with several rounds of kalpana swaras and an elaborate tani avartana. Ragam Tanam Pallavi in Keeravani, set to khanda jati triputa tala was remarkable for the sonorous tanam from the veena, followed by the flute and the violin, and the extensive swaras in ragamalika. “Ramamanthrava” in Jaunpuri and the Jinjhoti tillana by Veena Seshanna were the concluding items.
The perfect understanding between individual artistes, who complemented and supported each other during the alapana, neraval and kalpana swaras, and the seamless coalescence of their manodharma, were augmented by the quality of the percussion. At times, however, the enjoyment levels of the audience were diminished by lacunae in the balancing and tonal adjustments of the sound system.
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Chennai and Tamil Nadu