A refreshing Kharaharapriya by VV Subramaniam and team

VV Subramanian, VV Ravi and VVS Murari

VV Subramanian, VV Ravi and VVS Murari   | Photo Credit: The Hindu


The sancharas by the VVS trio conveyed the details of the raga in all its traditional glory

It was closest to ‘absolute music.’ There was vibrancy and variety in the concert by the Violin trio — V.V. Subramaniam, V.V. Ravi and V.V.S. Murari. The Kharaharapriya alapana proved the musical acumen of the trio. VVS commenced the alapana, followed by Murari and Ravi. The sancharas revealed subtle details of the raga with a rare freshness.

VVS commenced the tanam rather reluctantly, yielding to the wish of Murari and TVG. They brought the entire house to its feet with an exciting tanam, especially when a restive TVG joined in, in its closing passages. In Tyagaraja’s ‘Chakkani Raja,’ VVS brought forth his intellectual, technical and musical skills. He left a mark in each piece that he played. Sowkhyam ruled high in the swaraprastaras at ‘Kantiki Sundara,’ rendered by the trio taking turns.

T.V. Gopalakrishnan’s very presence added gravitas. The violinists and the audience must have enjoyed his accompaniment. His rhythmic flashes, after a long pause, with a crisp, well-shaped aruthi during the song, were eloquent. Being an accomplished vocalist, he knows how and where to give a meaningful pause. Pairing with V. Suresh, TVG packed the thani with rhythmic patterns. The sound of his teka, chapu and gumki was clear, sharp and bold. Suresh too provided glimpses of rhythmic excellence. His ghatam has a special melodic tone. After a Tisra Nadai Sankeerna Kuraippu, TVG presented the pharans and mohra in the routine chatusra nadai, concluding with a Tisra nadai korvai, eliciting appreciation from VVS.

Tiruppavai verse

The trio commenced their concert with the first Tiruppavai verse, followed by Tyagaraja’s ‘Sri Ganapathini’ (Sourashtram). ‘Angarakam Asrayamyaham’ (Surutti -Rupakam – Dikshitar) was rendered prefixed with a short alapana.

After a brief Varali alapana, the trio rendered ‘Mamava Meenakshi’ (Misra Chapu-Dikshitar). The Varamu delineation deserves special mention. One cannot but admire the gentle bowing of VVS, sparkling in the quick-moving passages. The three consistently communicated with one another musically, exchanging phrases with a degree of understandable intimacy. Tyagaraja’s ‘Manasuloni Marmamu’ was rendered in traditional purity, with swarams at pallavi. The concluding korvai saw the orchestral sound swelling to a crescendo.

After alapana in Vijayanagari they played Muthaiah Bhagavatar’s ‘Vijayambike’ and ‘Nannu kanna thalli’ of Tyagaraja in Kesari raga.

While VVS led all other raga delineations, Kuntalavarali alapana was presented by Ravi and Murari. The latter played a few fast-paced phrases. Maharaja Swati Tirunal’s ‘Bhogeendra Sayinam’ (Khanda Chapu) had swarams at pallavi.

The trio concluded the concert with ‘Karunai Deyvame’ (Sindhu Bhairavi- Madurai Srinivasan) and the traditional Mangalam, ‘Pavamana.’

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Printable version | Jan 27, 2020 9:35:18 PM |

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