Celebrity names, lofty themes, colourful stage decor and great expectations are the trademarks of Aikya’s annual events. This year it was Violins, Voices & Values , conceptualised and presented by violin prodigies Ganesh and Kumaresh. The value went up a few notches by the special appearance of Sudha Raghunathan and Bombay Jayashri.
Before the curtain went up at The Music Academy, Ranjini Manian CEO, Global Adjustments, referred to the ‘Mahabharata’ and raised three profound but hypothetical queries: ‘What would have happened if Beeshma married and ruled?’, ‘Why Dronacharya failed to instil moral values in his son?’ and ‘What would have been the scenario if Karna had gone for uplifting the underprivileged like him by extending proper education?’.
‘Dharma’ was theme of this programme. It is to be reiterated that translating philosophy into music is a tough proposition, although legendary composers have already done it with great vision and perception.
The programme was heralded with a typical Ganesh-Kumaresh style of dynamic raga extravaganza of Mayamalavagowla with their mandatory breathtaking flights, spiralling phrases and exotic excursions. The subtext was that it carried the intensity of valour to the despondency of depression.
Next, Sudha Raghunathan and Bombay Jayashri, explored Nattai alternatively and presented a composition, ‘Namo Dharmaya,’ with swara sallies in ragamalika. Being astutely professional, they impressed with their ingenious touches embellished by melodic grace. This composition in Sanskrit was said to be composed by Agni Varadarajan employing the expressions from Bhagavat Gita. But, unfortunately, the contents were not elucidated. Sudha and Jayashri also presented ‘Vaazhve Mayamendru’ in soulful Nayaki.
Then it was the turn of the violin duo. Mentioning that the way to salvation is to submit to the Almighty, they presented a medley of popular compositions with dashes of raga extrapolations. They included ‘Seethamma Mayamma’, ‘Nagumomu’, ‘Mayamma’, ‘Raghuvamsa Sudha’, ‘Raga Sudharasa’, ‘Srinivasa Thiruvengada’, ‘Adamodi Galada’, ‘Enna Thavam’ and ‘Manasa Sancharare.’
The concluding number, a bhajan, ‘Govinda Bolo,’ in Sindhu Bhairavi, which emphasised that all religion and faith led one to the path of liberation was sung in unison by all the four.
Three prominent tridents (trishool) were in the backdrop probably signifying the three valiant characters of Mahabharata. Yogesh Shamsi (tabla), Navin Sundar (keyboard and ipad), Trichi Krishnan (mridangam and ghatam) and Abhilash (special effect instruments) made up the orchestra.
There were passing quotes on difficulties in following values in life, celebrating women and motherhood, how desire promotes and destroys a person and on the constant war between the noble and evil. But the opening questions and their connectivity to the musical offerings were never answered.
It was like listening to a modern art form of music. One is expected to visualise and comprehend the content and the theme through his/her perception. And the audience enjoyed every piece with a resounding applause.
