Adhering to guidelines

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Vijayalakshmi Subramaniam.
Vijayalakshmi Subramaniam.


Vijayalakshmi Subramaniam maintained consistency and evenness in tonal modulation.

Vijayalakshmi Subramaniam's performance for the Sri Thyagaraja Seva Samiti's Bahulapanchami ably brought out the unified excellence of sahitya and sangita by the way she rendered the saint's compositions with clarity.

Her particular style andcontent in the raga alapana strictlyadhered to text-book guidelines notinspired by aesthetic flashes.The raga portraits were quintessentiallysedate, methodical step-bystepdevelopment. The violinist AkkaraiSubhalakshmi's solo versionswere focused on gripping sancharaswell anchored in qualitativepicturisation.

Vijayalakshmi revealed a sense ofease in her expository technique bothin the madhyama and tara sthayi negotiations.Subtle music reflects theinter relationship between aestheticsand vision which is abundant in SriTyagaraja's kritis and mere renderinggenerates dignified appeal. Vijayalakshmiput her faith on this aspect forthere were only two alapanas - Vachaspatiand Saveri. In handling theseragas there was consistency and evennessof tonal modulation.

Authentic quality

In the violinist's approach therewas a distinctly authentic quality. Theraga sancharas of Vachaspathi (`KantaJoodumi') and Saveri were meticulouslychiselled. There were manyclever turns of phrases dressing up thedifferent facets particularly in the presentationof Saveri. Vijayalakshmi'sobjective was continuous progress inthe alapana process underlined bystrict conservatism. Between the vocalistand the violinist the musical cul-ture built over the decades was wellpreserved.

The concert lacked liveliness becauseof the selection of songs - `Ra RaMa Inti Daka' (Asaveri), `KanugonuSowkhyamu' (Nayaki), `Evvare Ramaiah'(Kangeyabhooshani) and `RamaBana' (Saveri) These ragas andsongs were mainly soft-textured demandingextraordinary vocal depth tomake them vibrant. The satisfactionto the rasikas arose from the luciditywith which the kritis were sung.`Evarani' (Devamritavarshini) and`Anupama Gunaambudhi' (Atana)were two brisk items.

Madirimangalam Swaminathankept the percussive sector in goodshape. His beats were firm and strongvividly supportive in the song session.The thani was impressively inlaid withfascinating korvais and mixed jatis.



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