A Kanyakumari lived up to her reputation as an ace violinist in the company of her senior disciple Embar Kannan during their concert in Palakkad.
She kept the audience glued to their seats throughout the concert. Her distinct style, supreme command over the instrument and exquisite fingering and bowing techniques were noticeable in all her renditions.
Embar Kannan also managed to showcase his individual merits as an accomplished violinist.
Quite aptly, they chose three appealing pieces for the opening slot, the varnam Sami nine in Sri raga, Karimukha Varada (Natta- GNB), which was appended with charming swara patterns and the Tyagaraja pancharatna kriti Dudukugala in Gowla, all rendered gracefully.
A brilliant essay of Arabhi projected its complete swaroopa; the Tyagaraja kriti O Rajeevaksha was a welcome choice.
Kanyakumari then presented a beautiful sketch of a new raga Krishna (janya of Charukesi) that she herself created and rendered a short song in it.
A superb alapana of Kamas played by both alternately, was followed by Mysore Vasudevachar’s evergreen Brochevarevarura . Brief contours of Reethigowla led to a splendid portrayal of Paripalayamam (Swathi Thirunal).
Melodic nuances
Kanyakumari captured the melodic nuances of Kadanakuthoohalam, in her enchanting elaboration. Taking up Patnam Subramanya Iyer’s popular Raghuvamsasudha , the duo played a variety of thrilling phrases in the chittaswaram.
Keeravani, the main raga was explored at length, with the aesthetic beauty and quintessence of the raga emanating vividly. The artiste gave full vent to her manodharma by embellishing it further with srutibeda in Bowli.
Their portrayal of Tyagaraja’s famous composition Kalikiyunte was striking; slow and fast passages in kalpanaswaras, particularly those centred around ‘ri,’ enriched by ingenious bowing and fingering, were a delectable aural treat.
Kanyakumari evoked reminiscences of her mentor, maestro ML Vasanthakumari, whom she used to accompany, in the concluding session. Compositions such as Ramachandrudu Ithadi (Dwijavanti), Muralidhara (Maand), Kalaigal Migunda (Ragamalika), Aadhideva (Sindhubhairavi) and so on, oozed melody. Curiously, prathimadhyama raga was conspicuous by its absence in the concert.
Rhythm masters
Patri Satishkumar was at his best on the mridangam. He created a cluster of rhythmic patterns in the tani in Adi tala – Misrajaathi Kandanadai with Kanda kuraippu. G Guruprasanna (ganjira) showcased his percussion skills abundantly.
The programme was organised by Palghat Fine Arts Society.
