Strings in sync

K.J. Dileep and Mysore Sangeetha showedabsolute control over strings through their imaginative playing

Sage Valmiki said that there is no greater strength than enthusiasm. This was amply proved by K.J. Dileep and Mysore Sangeetha Dileep during their violin concert. Kudos to the organisers for having introduced these young and talented artistes to the discerning Chennai audience.

Dileep is the disciple of M.S. Gopalakrishnan, while Sangeetha is the student of Dileep and his father K.J. Shyama Sharma. Incidentally, Sangeetha is also a vocalist.

The Sahana elaboration by Sangeetha and the Amrithavarshini alapana by Dileeep were fine examples of imaginative renderings, faithful to the tradition and indicative of the best in our music. ‘Vandanamu Raghunandana’ of Tyagaraja was the chosen kriti in the former, while ‘Sudhamayi sudhanidhi’ (Rupakam) of Harikesanallur Muthaiah Bhagavatar, was the other. Kalpanaswarams in Amritavarshini had a unique symmetry.

Melodic raga phrases

‘Sriramya chitta’ (Jayamanohari) of Saint Tyagaraja with kalpanaswaras was melodic. Jayamanohari is a janya of 22nd mela, Kharaharapriya. The expansive alapana of Sankarabharanam by Dileep was a combination of gentle and vigorous playing. It showed Dileep’s control over the strings.

The rendering of Syama Sastri’s ‘Sarojadala netri,’ popularised by M.S. Subbulakshmi, was a connoisseur’s delight. The niraval and kalpanaswaras were at the usual ‘Samagana vinodini.

The couple vied with each other in bringing out the nuances of this ‘sarva swara gamaka varika rakti raga (one with inherent melody and with gamaka in every note). The concluding exchanges between the couple brought out their manodharma as well as their grip over laya.

The thani offered by Trichur Narendran (mridangam) and Tiruchi Murali (ghatam) was well-conceived and marvellously executed.

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Printable version | Aug 4, 2020 3:27:49 PM |

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