Balabhaskar’s violin concert at Annamanada near Thrissur was quintessential of his artistry and his ability to reach out to rasikas of all tastes.
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While a quest for exploring the ragas was generally welcome, a penchant for speed in many of the compositions appealed mainly to new-generation fans. A rare percussion support by two mridangams provided an extra dimension to the concert. For a musician known for his exploits in fusion music, it was commendable that he stuck to the format of a traditional concert.
The opening Saranga varnam, ‘Intha modi seye’ was enough to demonstrate his mastery over the instrument. One could discern the singular style of bowing as well as the agility of his fingers that sailed over the strings.
The composition of Thiruvattiyur Thyagayya in Adi was well received by the audience.
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Dikshitar’s ‘Eka dantham bhajeham’ was prefixed with an alaap that was short but crisp. The Bilahari number in Misra Chap was rendered energetically with all the intricacies it demanded and with lively niraval swaras.
An ambience of serenity prevailed in the hall as Balabhaskar opened the sought-after composition ‘Akhilandeswari’.
A contrast to the previous one in fast tempo, Dwijavanthi portrayed melody at its best. Each syllable of the Dikshitar composition was played with utmost clarity, which projected the emotive attraction of the composition.
Kalyanavasantham was essayed quite flamboyantly and movements that covered three sthayis were effortlessly played. The composition was ‘Nadaloludai brahmananda’ , the Tyagaraja kriti in Roopakam. After scaling the higher octave in a sweeping manner, he stayed there for long, thereby enhancing the texture of the raga. Not only the word ‘Nadaloludai’, but the entire line appeared in remarkable sangathis. Packets of swaras were bowed out in quick succession.
‘Bantu reethi kolu’ is Tyagaraja’s supplication to Lord Rama to appoint the bard as his bodyguard.
The composition is in Hamsanadam and Adi. But the musician seemed to have lost the tenor of the composition as he resorted to an extremely fast tempo. This was counterproductive as listeners found it difficult to make out the sahithya.
The percussion team gave him admirable support.
The main raga was Poorvikalyani and the composition, ‘Parama pavana’ of Ramanathapuram Sreenivasa Iyengar’s.
Ably supported on the second violin by Ambalappuzha Pradeep, the raga was analytically treated by the musician.
The percussion artistes including Bombay K.B. Ganesh (left-handed) and Vijay Natesan (right-handed) on the mridangam, Vellattanjur Sreejith on the ghatam and Payyannur Govinda Prasad on the morsing were in their element and made the tani an aural treat. They played as an ensemble for the close of the composition before entering into tani.
Balabhaskar gave a short introduction of the pallavi composed in the rare raga Sooryakantham by his uncle and mentor B. Sasikumar. It was played in the tala Nadahamsam belonging to the 108 tala system that is not in vogue. Together with its complex structure containing 32 aksharas, the composition was proof enough of the veteran’s technical virtuosity.
Even though Balabhaskar presented it with fidelity, the protracted presentation, especially when it was late into the concert, could have been shorter.
Tone of the electric violin appeared more sonorous as against the pleasing one from the acoustic violin played by Pradeep.
The concert had a refreshing end with Swati’s ‘Chaliye Sunder’ in Vrindavana Saranga. It was held as part of the ninth annual celebrations of Agni Cultural Academy.