Concert Kaza Subhashini’s veena recital lived upto her guru’s style.

Veena player Kaza Subhashini Sastri is one of prime disciples of Vasa Krishnamurthy who created a typical style of presentation that came to be known as ‘Vasa Baani’.

Subhashini could show out this style a bit in the latter part of the main Kalyani number of her concert for Sangeetha Ksheerasagaram, last week in sabha’s music festival held at mini hall of Thyagaraya Ganasabha.

She had three experienced hands -K. Rajagopalacharya on mridangam, Varanasi Bhanuprasad on ghatam and K. Shyam Kumar on kanjira to support her.

Subhashini’s vivacious skill could be seen right in her opening number — Deekshitar’s Siddhi Vinayakam in Shanmukhapriya, set in Roopakam. Her brief raga presentation was with tasteful simplicity. Her swaras in the end too bore quality.

She then played Annamayya kirtana Purushothhamudaveevu in Revagupti and played another rare number Muthaiah Bhagavatar’s Vijayambikey in rare raga Vijayanagari, characterised by impressive essay. So was play of swarakalpana focusing on the word Vijayambikey.

The flow of Chakravakam for Etula Brothuvo of Thyagaraja was carried into Swarakalpana too. This one and the subsequent quickie Nagumomu in Abheri paved way for the major raga effort of Kalyani for Devi Meenakshi a rare composition of Thachoor Singaracharlu. The most attractive part after her well essayed raga essay partly with flavour of Hindustani before ending up with traditional Carnatic element was tanam, a beauty on veena that stole hearts.

The swarakalpana was in detail swarakalpana giving a palatable finish. The tani avartanam by percussionists kept up the tempo.

Mokshamu galada in Saramathi of Thyagaraja, Krishna Nee Begane Baro in Yamuna Kalyani were the concluding compositions of the concert.

G.S.