Enjoyable instrumental fare at the Academy S. Sivaramakrishnan

he Music Academy had allocated culminated in a precise, grand take- two slots for violin concerts off at arai-idam. Tani by Anantha and T(A. Kanyakumari, Lalgudi Suresh, that traversed various nadais, G.J.R. Krishnan and Vijayalakshmi), was marked by clarity to end in an three for veena (Jayanthi Kumaresh, imaginative mohra covering just three N. Ananthanarayanan, Ramana tala cycles. Balachandran) and one for flute (J.B. Arunagirinathar’s Seersirakkumeni Sruthi Sagar) in the instrumental in ragamalika set to khanda Triputa, music category. HEMAMALINI S was full of substance, vyavaharam Violin vidushi A. Kanyakumari and saukhyam. A bright tillana in began the recital with Mahaganapatim Kalyanavasantam composed by their bhavaye, a unique kriti in father and guru Lalgudi Jayaraman, Natanarayani on Lord Vinayaka by brought the recital -- rich in nuances Dikshitar, which is not commonly and demonstrative of the scope of the heard in concerts these days. In instrument -- to a grand finish. Saraseeruhasanapriye (Nata) -- the composition, with a compact set of The grand swarajati of Syama Sastry noted composition on the Goddess swaras at the pallavi. The Dikshitar in Yadukulakambhoji (Kamakshi) of learning, brilliant swaraprastara masterpiece, Meenakshi mey mudam that demands absolute internalisation was rendered at Saraswati -- the dehi – main suite of the recital -- of the chittaswaras and sahitya, was celebrated charana sahitya. Chakkani was ushered in with an expansive given a prominent place by Jayanthi raja (Kharaharapriya), the main kriti delineation of Poorvikalyani by Kumaresh in her veena concert. of the concert, was led through a Krishnan. The siblings took turns The beauty of the charanas that land ‘rajamargam’ after a fitting alapana to present niraval brimming with smoothly at the pallavi with an eduppu and tanam. Swaras were rendered for sahitya bhava, at Madhurapurinilaye at samam for misra Chapu tala, was Kantikisundara. Nishant Chandran followed by laya-laden sumptuous rendered sensitively. (violin) followed closely, K.V. Prasad swaraprastara laced with occasional (mridangam) and Bhagyalakshmi M. poruttams, characteristic of the It was with Siddhivinayakam in Krishna (morsing) -- perhaps the only Lalgudi bani. The kuraippu segment Chamaram (Shanmukhapriya) with lady artist playing the instrument -- fared well with a compact tani. The concert concluded with the ever popular Bhagyada Lakshmi. Hechariga ra ra (Yadukulakambhoji), Sreepatey (Nagaswaravali) and Kripaya palaya saurey (Charukesi) were the other kritis featured in the concert. Celebrated violin duo Lalgudi G.J.R. Krishnan and Vijayalakshmi accompanied by Anantha R. Krishnan (mridangam) and Suresh Vaidyanathan (ghatam) opened their concert with Bagayanaiya in Chandrajyoti. Next was a brief, succinct alapana of Natakurinji (by Vijayalakshmi) for Mamava sada varade, a Swati Tirunal

31 l SRUTI March 2021 a beautiful alapana, that the vainika of sahitya bhava was perceptible opened the concert with utmost sahitya in the rendering of the kriti in the fidelity; the pallavi with an excellent right kalapramanam. Swaraprastara korvai to crown. It was nice to hear at the charana passage (Samagana kalpanaswaras at samam eduppu vinodini) had a variety of sancharas for Siddhivinayakam instead of at and crowned with a matching korvai Prasiddha gananayakam – usually for the take off at samam. Mridangist done as if obligatory! Guruleka Akshay Ananthapadmanabhan etuvanti (Gaurimanohari) as the main provided able percussion support piece had a rich alapana that explored and the well-designed tani was the raga vividly, and the kriti in enjoyable. Govardhana giridhara in khanda Chapu was rendered superbly Darbari Kanada offered rich contrast. with swarakalpana. Ninujepakarana Mathiyay vithaganai (Surati) brought (Mandari) with a brief raga outline and the presentation to a fine finish. accompanied well on the violin that a few rounds of brisk swaras preceded Ramana Balachandran’s matched the mood of the concert. Gaurimanohari, in fine contrast. outstanding veena concert included Percussion accompaniment by just two kritis of Tyagaraja: Lekana Jayanthi Kumaresh’s concert was Akshay Ram was unobtrusive and his ninujootu (Asaveri) and Merusamana indicative of her extraordinary capacity tani brought out the salient features of (Mayamalavagaula), and of course to employ excellent playing technique Roopaka tala. The concert concluded the namavali, Arunachala Siva as a and a well articulated presentation. with the popular bhajan Thumak K.U. Jayachandra Rao (mridangam) chalat Ramachandra of poet-saint conclusion. and Trichy S. Krishnaswamy (ghatam) Tulsidas in Misra Khamaj. A leisurely delineation of Asaveri provided percussion accompaniment N. Ananthanarayanan presented was an exquisite experience. Many with care on aesthetics and absolute a fine veena concert with selection may have been listening to such an grip on laya. of ragas of varying hues. A brisk exhaustive alapana of this scale, for J.B. Sruthi Sagar gave an excellent Sarasa samadana (Kapinarayani) the first time. The sober, meditative start of the raga progressed to flute recital, accompanied by K.P. followed Tulasidalamulache sancharas in varied tempos that Nandini (violin) and R. Akshay (Mayamalavagaula), the opening kriti. Varali was given a good delineation highlighted Ramana’s command Ram (mridangam). Dikshitar’s over playing technique and handling Sreekrishnam bhaja (Todi) with for Mamava Meenakshi (one of Dikshitar’s masterpieces) with niraval gamakas. Rendering of Lekana was a brief outline of the raga and supported vocally by the young and swara at the time-tested passage niraval and swara at Pankajasanadi musician himself -- a true ‘vainika- Syamey sankari. devavinutam was the opening gayaka’ -- presumably with the number. Ezhiludai Hamsanadam, a Sarojadalanetri, the celebrated intention of sharing the full import lakshana kriti by Tanjavur Sankara composition of Syama Sastry in of the composition with its multiple Iyer in raga Hamsanadam, came in Sankarabharanam, was rendered with charanas. Swaraprastara was well breezily with a sketch of the raga a raga alapana marked with immense presented with subtle poruttams in and was full of aesthetics. Musicians, raga bhava and poise. The element select rounds. especially vocalists, could include this There was an elaborate alapana in concerts so that rasikas can enjoy of Mayamalavagaula followed by the full import of the sahitya as it is a tanam, for Merusamana as the kriti. lakshana kriti. Many may be hearing Swaraprastara at the charana passage this composition for the first time. Galamuna sobhillu, laced with khanda nadai prayogas, had misra The main item of the recital was phrases in the final round of korvai. Tyagaraja’s Raghupatey Rama Young Kishore Ramesh provided rakshasabheema in Sahana with a excellent mridangam accompaniment beautiful, expansive and expressive with confident strokes and decibel alapana rich in niceties. Swaraprastara discipline. The tani that traversed a in two speeds with a tidy korvai was variety of khanda nadai had a masterly presented at the pallavi. K.P. Nandini mohra and korvai to crown. n

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