Masterful solo

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Event Jayalakshmi Syamasundaram’s solo veena concert was impressive.

Jayalakshmi Syamasundaram rendered a solo veena concert under the aegis of Trividya Peetham at Ravindra Bharati last week. Karra Srinivas on mridangam and Varansi Bhanuprasad on ghatam accompanied her.

Jayalaskmi opened with Manaviyalakimpa of Thayagaraja in Nalinakanthi and displayed her urge for skilful presentation, a faithful account, reflecting her ardent practice. Then she played Muthaiah Bhagavatar’s kirtana Jaalandhara . The swarakalpna was neat and compact, with systemic presentation that put to view her imagination that caught the ear of the audience, with percussionists aptly lending strength to the notes.

Marivere Dikkevvaru of Shyama Sastry in Anandabhairavi was the next number that Jayalakshmi presented in leisurely grace, building in simpler forms of its most popular sequences. Her characteristic moves in ragalapana touched hearts. Kirtana Presentation was good. The swarakalpana added a breezy play in second pace.

The first detailed ragalapana of Jayalakshmi was of Sarasaangi for a rare Neekeladayaradu of Ramaswami Sivan. The raga was steadily built with tempo using multiple strings, creating right mood for take off of the kirtana, which in itself is an appeal for mercy of the almighty. She presented the kirtana in vocalist style, for which her tradition is well known and slowly merging it into Swarakalpana, that she presented impressively maintaining the raga impact and its mood.

The popular Khamas number Brochevarevarura of Mysore Vasudevachar that came next was a pleasant and spirited rendition displaying apt skills reflecting her virtuosi sills. This served as relief before she took up serious number Kalyani as major raga of the concert for Vasudevayani . Jayalakshmi played the raga with gentle meetus with gamakas of variable intensity and creating its ecstatic mood, leaving space for melody build. Her display of blooming manodharma was there in kirtana presentation too in sancharis with perfect gamaka structuring. Her monodrama was put to view at this stage in both melody and text. The swarakalpana that followed was indeed a pleasant experience in playing different phrases in taking it to climax. The tani avartanam presented by Srinivas on mridangam and Bhanuprasad on ghatam blended well.

Other notable number Jayalakshmi played on the occasion was her father’s composition Mangapathi in Dwijavanthi. It was a laudable attempt. The end numbers were Doorumaduvarene in Behag of Purandara dasa, a Narayanateertha Tarangam Deva Devam in Sindhubhairavi, Annamacharya kirtana Satulala in Kapi, Sitakalyana Vaibhogame . She ended with a Vedic ‘Santhi vachanam’.




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