MUSIC Mathur Srinidhi’s violin concert had melodies tones and good craftsmanship
Aviolin concert by Mathur R. Srinidhi, accompanied by R. Adamya (mridanga) and Raghavendra Prakash (ghata), was part of the three-day Vidyasagara Prof. M.P.L.Sastry Cultural Festival conducted by MES Kalavedi, Bangalore, recently.
The concert began with “Sarasijanabha” the Kamboji raga varna in ata thala. A sketch of Hamsadhwani led to a brisk, yet melodious rendition of Muthuswami Deekshithar’s “Vathapi Ganapathim” in adi thala, adorned with a spate of kalpana swaras that included several avarthanas around the thara sthayi shadja. A vivid contrast was provided by the mellow tones of the ensuing Thyagaraja krithi in Huseni, “Rama Ninne Namminanu” in adi thala, replete with fine touches and the subtle nuances characteristic of the raga.
A swift “Niravadhi Sukhada”, the Thyagaraja composition set to Ravichandrika raga and adi thala, prefaced a compact, systematic and sweet elaboration of Bilahari. Patnam Subrahmanya Iyer’s ‘Paridanamichithe’ in khanda chapu thala was presented in a vibrant tempo and embellished with a modicum of fluent kalpana swaras, rounding off a beautifully crafted and well proportioned item. One of the highlights of the concert was the Pancharatna krithi in Sri Raga, “Endaro Mahanubhavulu”, which was followed by the Thyagaraja composition in Jaganmohini raga and rupaka thala “Shobhillu Sapthaswara”, played at an invigorating pace and embellished with a number of flourishes.
An air of tranquility and repose was ushered in with the opening phrases of the main raga of the evening, Kalyani. Gentle sancharas interspersed with a few brighas in all three octaves, smooth bowing and a keen aesthetic sensibility coalesced perfectly with spontaneous and technically sound articulation to illumine the melody and classicism of the scale. Occasional phrases omitting the panchama and shadja were used judiciously to augment the appeal of the exercise. The Thyagaraja composition “Ethavunara” in adi tala was supplemented with a succinct neraval at the charana line beginning “Bhu Kamalaarka”. Kalpana swaras in two speeds ended with a several thala cycles of diminishing length ending at the nishada, incorporating intricate rhythmic patterns and culminating in a thani avarthana. Commendable support, co-ordination and expertise from the percussionists, in tune with the lead artiste’s manodharma and the prerequisites of the pieces included in the concert, ensured enhanced listening pleasure.
The Festival also included a vocal recital by Madhuvanthi Mandyam and a Hindustani vocal concert by Dhananjay Hegde.