The spirit of tradition and avid enthusiasm to experiment made a fine blend, to mesmerise connoisseurs of music even as a disciple seemed to overshadow her guru.
And the guru Padmavathi Ananthagopalan of Chennai was only too happy to bless the shishya Jayanthi Kumaresh of Bangalore, by repeatedly offering appreciative nods. She was filled with sense of achievement as the younger artiste got claps from the pleased Kudla audience.
The disciple said the only way to make a guru listen to you is to make her perform with you. The statement, coming after the duo rendered the first piece of the day, left the fairly big crowd applauding.
In addition to touching the hearts of people by plucking the chords, she touched a chord when she greeted people in Kannada and promised to make all the announcements in the same language during her next concert in the city. By then she would learn that much of Kannada, she said.
Even as the elderly artiste stuck to tradition, her disciple repeatedly launched herself into the realm of experiment, occasionally making you wonder whether she was expanding her music even to Hindustani tradition.
The duo was particularly impressive when it presented a Thyagaraja composition in the Raga Vachaspathi and the disciple showed how string instrument could be brought too close to vocal music adding a fine touch with her special technique of intonation.
They began with the Raga Kambodhi (a kriti by Vadivelu) and later presented compositions in Ritigowla (Jaya jaya of Purundaradasa), Madhyamavathi (Palaksha by Shama Shastri), Kamalamanohari (Shankaram, Muthuswami Dikshitar), Kharaharapriya (Chakkanniraja, Thyagaraja) followed by Ragamalika, and a Thillana of Lalgudi Jayaraman.