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Commendable violin duet

GANESH AND Kumaresh, the violin siblings have deservedly made a mark for themselves in the performing circuit with their style that is influenced by the Lalgudi bani, and also other individual characteristics. Their concert for Jaya TV's Margazhi Utsav took off to a flying start with the popular Adi Tala Kalyani varnam "Vanajakshi." A Muthuswami Dikshitar song " Rakta Ganapatim" with a chittaswaram composed perhaps by the artistes themselves, the swara chains, the Kuraippu in the gandharam and the korvai right on the dotted line, merited instant appreciation.

Umayalpuram Sivaraman's accompaniment, exuberant yet supportive, elevating the levels of aural interest was thoroughly enjoyable. The Tyagaraja song "Needayaradha" was a sound enough interpretation. The discomfort, however, was that the amplification in the lower octave produced a saxophonic effect instead of the aristocratic nadham of the mandra sthayi. Kumaresh's alapana of Gowri Manohari, punctuated with confident prayogas played with `azutham' and clarity, found the music in full flow. "Gurulekha" in Khanda Chapu and the swaras conveyed with zest and laya precision, created an aura of cheer. The extra fast passages elicited a thunderous applause, but one was prompted to wonder whether these acrobatic displays, however skilful they may be, can ever put the swinging, lilting gait of the sarvalaghu in the shade.

Ganesh revealed his vocal talent in his singing of Gopalkrishna Bharatiyar's composition "Aadiya Padhame" in Varali. Tyagaraja's "Nadhopasana," a jewel in a musician's repertoire, replete with a flow of swaras in the madhyama and dhurita kalapramanams, were accurate rhythmic calculationsSivaraman's tani avartanam with E. M. Subramaniam, a ghatam vidvan of long standing, had the hallmark of excellence.

Right pace

Nisha Rajagopal, dulcet voiced singer and disciple of P.S. Narayanaswami, acquitted herself creditably. The Sahana varnam "Karunimpa" was an apt choice to set the momentum. Dikshitar's "Maha Ganapathim" in Nattai in Chativisra Ekam and the swara kalpanas ending in a simple Khanda korvai, were adroit with just the right flow of adrenalin - neither too aggressive nor too subdued.

It was a welcome change from the routine to listen to Natabhairavi expanded with manodharma and melody, strictly within the parameters of the raga lakshana. The delineation evoked memories of MLV's splendid alapanas, as a prelude to a kriti and for the main segment of Ragam, Tanam and Pallavi. Papanasam Sivan's "Sri Valli Devasenapathe" with beautiful Sanskrit lines topped by a fitting korvai, had enough musical and rhythmic merit. Kedaragowla was portrayed convincingly, progressing rung by rung with rakti laden phrases.

"Venugana loluni" with classical sangatis, the swaras for "Vikasita Pankaja" and the final solfa sequence that reached destination hassle-free were soundly scripted. Jayanti Kesav on the violin has raised her performing levels considerably and the mridangist Sankaranarayanan, a disciple of Srimushnam Raja Rao, kept both the vocalist and the audience in a comfortable zone with his accompanying talent and solo effort.


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