Jayanthi Kumaresh's veena recital was a unique amalgam of technique and aesthetics.

Jayanthi Kumaresh's veena recital in Palakkad recently brought nostalgic memories of her mentor, the late veena maestro S. Balachandar. She handled the veena with an expertise and elegance that testified her profound erudition. One could observe a unique amalgam of technique and aesthetics in her playing. Her skill in conveying the lyrical contents of the songs through energetic presentations was in evidence throughout her recital.

Jayanthi started impressively with the varnam ‘Chalamela Jesevayya' in raga Nattakurinji, composed by Rangaswami Pillai .

Emotive content

The portrayal of the next two items, ‘Kanchadalaayadaakshi' (Kamalamanohari-Muthuswamy Dikshitar) and ‘Marive gathi' (Anandabhairavi –Shyama Sastri) clearly revealed their emotive content.

The alapana of Poorvikalyani, adorned with powerful gamakas, was steeped in unalloyed classicism. The kriti was Neelakanta Sivan's ‘Aananda Natamaatuvar Thillai.' The gripping kalpana swaras added lustre to the presentation. Tyagaraja's ‘Nannukannathalli' in the rare raga Kesari, popularised by Balamuralikrishna and not much heard in present day concerts, was a welcome choice.

Piece de resistance

The ragam, taanam and pallavi in Keeravani proved to be the piece de resistance of the concert. The raga development was marked by pleasing gamaka-oriented sanchaaras. Taanam goes well with the veena and is favoured by vainikas. Jayanthi revelled in playing it, exploring the intrinsic beauty of the raga.

The pallavi ‘Hariharasuthane Ayyappane Saranam – Sabariyil Vilangidum Karunai Pozhiyum' in Misra Chaapu tala was well essayed, with creative combinations. The varied permutations in swaraprastharas were commendable. Swift changes in ragas showcased her command over the instrument. Delectable notes of Mohanam, Sudhadhanyasi, Hamsaanandhi, Sahana, Subhapantuvaraali and Madhyamavathi were an aural treat.

Interesting exchanges between the vainika and the mridangam artiste R. Ramesh in the course of the swara passages, with the latter virtually reproducing the notes on the mridangam, was one of the most enjoyable moments of the recital.

Jayanthi's portrayal of the tukkada items such as ‘Kandanaal Muthalai' in Madhuvanthi and ‘Enna tavam' in Kaapi, were soaked in sweet melody and vividly brought out their saahitya bhava. A delicious sketch of Behag – ‘raga pravaaham'- was the concluding number of the concert.

R. Ramesh was ably supported by Tripunithara Radhakrishnan on the ghatam. Their tani in Misra Chaapu tala was characterised by intelligent laya manipulations. The concert was organised under the auspices of the Palghat Fine Arts Society, Tharekkad.