R. Swaminadhan’s violin solo in Palakkad showcased the style of the ‘Paroor school’.
R. Swaminadhan's violin solo was an opportunity for rasikas in Palakkad to listen to the sound of the ‘Paroor school'.
Swaminadhan, a faculty member of the Chembai Memorial Music College, is a student of the violin maestro M.S. Anantharaman, son of the legendary Paroor Sundareswarayyar, founder of the distinctive Paroor style.
Swaminadhan played pieces that were adorned with symmetry and refined bowing techniques. He was accompanied by the talented Palakkad Mahesh Kumar on the mridangam and E.M. Dipu on the ghatam.
The violinist opened the concert with a lively Ata tala varnam ‘Neranammithi' in raga Kanada; a piece composed by Ramanathapuram Sreenivasayyankar.
Salutation to Lord Ganesa
A salutation to Lord Ganesa, ‘Pranamamyaham' of Mysore Vasudevacharya in Goula, Adi tala, was embellished with a spate of kalpana swaras.
Exposition of Saranga brought out the varied shades of the raga. It was embellished with subtle gamakas on a single string, a technique that is exclusive to the melodic ‘Paroor Bani.'
A lilting ‘Nee vatanegana' of Tyagaraja, set to Khandhachappu tala, was appended with crisp swara prasthara. It was followed by the Swati Tirunal composition ‘Devadeva' in Mayamalavagoula, Roopaka tala. The usual niraval at ‘Jatharoopa…' had manodharma swaras in two speeds.
Next came a brisk number ‘Chinnanatena,' an ekeika raga Tyagaraja kriti in Kalanidhi, Adi tala. A virtuoso elaboration of the demanding raga Poorvikalyani, for Neelakandha Sivan's composition ‘Ananthanatamaduvar,' was appended with creative swara kalpana.
‘Bhogeenthrasayinam,' another Swati kriti, set to Khandhachappu tala, following an exquisite rendition of Kunthalavarali, led to the high point of the concert – an eloquent portrayal of Thodi. Flashes of sancharas illuminated the facets of the raga. While the alapana fulfilled the technical and aesthetic parameters, the violinist ensured that serenity reigned supreme.
Syama Sastri's ‘Ninne namminanu' was rendered in the appropriate kalapramana and laced with sprightly swaras in two speeds.
Tani by Maheshkumar and Dipu had a tapestry of attractive sancharas composed of soft and crisp beats.
He concluded the concert with a devout Tharangam ‘Govardhanagiridhara' in Darbarikanada and the ragamalika ‘Kurai onrum illai.'