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Updated: September 20, 2012 17:15 IST

Violins in sync

SVK
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Kanyakumari. Photo: archives
Kanyakumari. Photo: archives

Strings Guru and disciples combined in a masterly concert.

The violin concert of Kanyakumari in the Gokulashtami series of Sri Krishna Gana Sabha provided an environment of exquisite musical efficiency. Her interpretative style gave lift and effect to alapanas and songs. Supported by her two disciples, Embar Kannan and M. Rajeev, it was a unique combination of fertile manodharma and well-articulated exposition.

With her professional competence Kanyakumari imparted life to every item that she handled. Striking sancharas and flowing smooth lines contributed to the scholarly development of ragas, Charukesi (‘Kripaya Palaya’) and Suddha Saveri (‘Dharini Telusukonti’). Overall, the kutcheri was a musical documentation marked by adventurous artistry.

Masterly presentation

The Bhairavi varnam ‘Viriboni’ was a steady lyrical articulation with the perception of subtle grandeur. It went beyond the usual platitude of exposition to prove that in high class music the creative process called for more than mechanical expression.

Kanyakumari got lost in her exact fingering propensity in speed craft to enhance the luxury of her booming violin. This aspect contributed to her masterly comprehensive presentation.

The raga alapanas of Charukesi and Suddha Saveri were placed with vividness bringing out the solid core of the ragas. The delineation of Suddha Saveri in particular, and the song ‘Dharini Telusukonti’ showcased her ability stimulated by the vision of the alluring sangati aspects of the kriti.

There was a deep sense of repose in her handling of the Devagandhari song ‘Ksheera Sagara Sayana.’ The bow brought out the soothing shades of the kirtana with subtleties of interpretation, classical in style. The presentation was elevating reflecting the structure, nuances and kalapramana of the kritana.

The fascination of the concert was not only how she played but how she took her disciples along, both responding to her challenges. It symbolised the way Kanyakumari has trained them.

Now for the double mridangam by the two stalwarts, Mannargudi Easwaran and K.V. Prasad. It was a marathon achievement with stratum after stratum of laya korvais (while supporting kirtanas) reverberating in frenzied passion. It climaxed in the thani, the sawal-jawab exchanges stunningly provocative, sweeping the gamut of tala profundity.

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