THE VIOLIN duet by R. K. Sriramkumar and S. Varadarajan for Nada Inbam was delightfully first-class. Refinement and merit contended equally for rasika attention. In the selection of songs too - "Jagadaanandakaraka" (Nattai), "Rama Nannu Brovara" (Harikambhoji), "Siva Siva Siva" (Pantuvarali), "Nadopasana" (Begada), "Talli Ninnunera" (Kalyani) and "Kaddanu Vaariki" (Todi) - they let the listeners know what they thought really strengthened a performance to be noteworthy.
In the delineation of the raga Kalyani by Varadarajan, and Begada and Todi by Sriramkumar, their feel for their aesthetic richness was well expressed. While Sriramkumar's play was marked by vivacious vibrancy, Varadarajan brought a sober attitude to phrasings. The Todi at Sriramkumar's hands was tasteful in concept and radiant in expression. He exhibited an uncanny instinct to impart appealing tonal quality and breezy glimpses of the raga and the final picture was a blend of delicacy and dexterity.
Varadarajan's Kalyani exposition was silky and smooth-flowing, providing a soft touch to the phrasings. In colour and gentleness his Kalyani alapana was engagingly pleasant. There was good understanding between them in the rendering of kirtanas. The Nattai pancharatnam set the standard for the other kritis that followed. Of the songs played, "Nadopasana" took the pride of place by its tranquillity and depth of emotion.
"Talli Ninnunera" and "Kaddanuvaariki" were played with an intensity of insight into their structural grandeur. Sriramkumar and Varadarajan were passionate in tapping their manodharma resources in alapanas and adherence to patantara in the rendering of songs. Arun Prakash on the mridangam fused his tekas and patterns with impeccable finish, with an eye for the details of the sangatis in songs.
In perfect harmony
At the end of the function to honour Lalgudi Jayaraman on his life-time achievement at the Krishna Gana Sabha, his son G. J. R. Krishnan and daughter Vijayalakshmi gave a concert hinting at the hand of Jayaraman in their confident playing technique. Meticulously methodical and well-planned to the last detail, each sanchara in raga alapana and sangati in songs were put in their proper places. Harmony and perfect co-ordination were well stressed. Their rigorous training is such that nothing seemed to be out of their reach.
The performance was intensely vigorous supported by the items - "Swaminatha" (Nattai), "Anuraagamuleni" (Saraswati), "Ninnu Joochi" (Sowrashtram) and "Pakkala Nilapadi" (Karaharapriya). They showed grit and firmness of purpose in their strict adherence to sampradaya. The sanchara statements in the alapanas of Saraswati and Karaharapriya were emphatic, covering a wide range of their shape. Tiruvarur Bhaktavatsalam on the mridangam collected his percussive patterns in sheaves, and thereby made his contribution sumptuous. _ SVK
Send this article to Friends by