Kanyakumari goes by rasikas’ choice

Kanyakumari violin recital with L. Ramakrishna

Kanyakumari violin recital with L. Ramakrishna  

Kanyakumari bowed to the wishes of the audience to present a concert with a touch of novelty

The violin concert of A. Kanyakumari for Nayaki at Abhirami Hall, Kotturpuram, had all the necessary features to make a concert engaging, entertaining and also exciting.

Kanyakumari to a great extent presented this concert as Listeners’ Choice. After the Sriraga varnam, she asked the audience to choose a raga from among a few she suggested. The rasikas fell in favour of Tilang. Kanyakumari came up with an exquisite sketch of the raga before taking up ‘Sri Ganesha Charanam’ by Papanasam Sivan, appending it with a lively swara exchange with her disciple L. Ramakrishna. Charukesi, that fluid and melodious raga known for its poignant overtones, was detailed with the focus on all these qualities, creating a serene ambience.

Obliging the audience, she played Swati Tirunal’s ‘Krupaya Palaya,’ which came with gimmick-free swarakalpana.

The alapana and tanam of Bhairavi — again audience choice — carried the bright and sober shades of Bhairavi. Muthuswami Dikshitar’s ‘Balagopala’ was the composition. The energetic swaraprasthara gained extraordinary momentum as Kanyakumari set to create an upsurge of ragas as ragamalika swaras. So there were Sahana, Chakravaham, Kapi, Hindolam and Kalyani. The swara exercises came as a deluge of swaras in the form of a musical medley with panache. Kanyakumari gave each raga a substantial slice and returning to Bhairavi after each raga both in the ascending and descending order.

The concert was exciting because Kanyakumari played rare kritis in colourful ragas — ‘Rara Mayintidhaaka’ in Asaveri (Tyagaraja), ‘Jagajjanani’ in Ratipatipriya (Ghanam Krishna Iyer), ‘Annapoorne’ in Sama (Dikshitar), ‘Mara Vairi Ramani’ in Nasikabhooshani (Tyagaraja), ‘Raakaa Sashivadhana’ in Takka (Tyagaraja). The novelty of this concert was also on the rhythmic side, it was K. Sekhar on thavil in place of mridangam and B.S. Purushotham on the ganjira. The thavil did overpower the violin initially, but Sekhar sobered down as the concert progressed. The crisp and rhythmic finale he provided to each kriti was a novel touch. Veteran Purushotham with his low-key ganjira was an apt foil to Sekar during thani avarthanam.

L. Ramakrishna toed the line of his guru with reverence but added charm in the raga essays and swaraprastharas with his ingenuity.

The tail-end pieces included ‘Krishna Ni Begane’ in Yamunakalyani (Vyasaraya), ‘Koovi Azhaithal’ in Valaji (Valee) and a composition of Annamacharya set in the raga Seshadri, conceived by Kanyakumari.

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Printable version | Apr 8, 2020 7:55:45 AM |

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