Shreya Devnath’s style is a unique mould impressed on pure classicism. It follows the pattern set by her guru, Lalgudi Jayaraman.
Shreya's evening violin concert illustrated that she has innovative ideas. They enhanced the glitter and thrust of her playing. Her Ritigowla and Thodi alapanas were exuberant and contained flashes of vintage quality which made rasikas sit up. They displayed an original imagination, raga architecture and refined quality. In both elucidations, the tara sthayi phrases and sustained notes were soul-stirring.
In Ritigowla, she presented Subbaraya Sastry’s masterpiece, ‘Janani Ninnuvina’ (Misra Chapu), with swaraprastara both at the pallavi and at ‘Dikkevaramma’ alternatively. Her rendering was punctuated with applause from the well-informed audience.
In Thodi, she chose one of the Lalgudi Pancharatnas of Tyagaraja, ‘Gathi Nivani.’
Kalpanaswaras at the pallavi were as varied as they were musical. In Thani, B. Ganapthyraman, disciple of Kumbakonam Rajappa Iyer and Nerkunam Shankar (ganjira), disciple of G. Harishankar offered several rhythmic permutations and combinations.
Shreya commenced her concert with the charming Lalgudi Varnam in Husseni, followed by Patnam Subramanya Iyer’s ‘Korina Varamosagu’ in Ramapriya.
Niraval and swaras at ‘Parichara Vanara Samooha’ were expansive, but without a single repetition of any sangati.
Mysore Vasudevachar’s ‘Brochevarevarura’ (Khamas) was rendered straight. She wound up her recital with ‘Karpagame’ (Madhyamavathy) of Papanasam Sivan, a Thiruppugazh in Hamir Kalyani and the Lalgudi thillana (Misra Chapu) in Vasanthi.
Shreya Devnath proved through her recital that music is beyond language and is primarily concerned with aesthetics and sweetness of sound. She has a bright future in the realm of music.
Click on the respective venues to read about concerts performed there.
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