Sri Thyaga Brahma Gana Sabha Music

Veena Venkatramani: Concert sans gimmick

Veena Venkatramani

Veena Venkatramani   | Photo Credit: The Hindu


Veena Venkatramani did not resort to the thrill factor through vigorous meetus

Watching young Veena Venkataramani on the frets gives one the hope that the appeal for the instrument has risen in the current scenario.

When she was nine, Veena started learning the veena from A. Champakavalli, and then from her guru’s prime disciple, Jayasri Jayaraj Krishnan.

Veena is conscious of the fact that subtleties of sound play a vital role in the instrument. Throughout the two-hour recital, she never resorted to the thrill factor through vigourous meetus.

Meditative Kiravani

In the gamaka-filled elaboration of Kiravani, she brought forth all the features of the Melakarta raga, highlighting its meditative and devotional appeal. In the tanam, she was at her best. The ‘Pakkasaranais’ vibrated with perfect resonance.

She rendered Saint Tyagaraja’s masterpiece ‘Kaligiyunte’ with an admirable sense of proportion in an apposite kalapramanam. The niraval and extensive kalpanaswaras were at ‘Bhaguga Sri Raghuramuni.’

B.S. Prasanth, disciple of Patri Satish Kumar, and K. Ranganathan (ghatam), disciple of Chromepet Suresh and Ghatam Karthick provided an eloquent thani. Prasanth’s support on the percussion, throughout the concert, was gentle. Prasanth allowed the ghatam to take over in the first section of the charanam in every kriti which is laudable.

The Tyagaraja kriti on Mother Tulasi, ‘Amma Ravamma’ (Khanda chapu) was preceded by a melodious, serene delineation of Kalyani. The niraval and swaraprasthara were at the usual ‘Tamarasa Dala Netrudu.’ The swara kuraippu was attractive.

Veena’s selection of songs was remarkable. Commencing with the Kedaragowla varnam, she rendered ‘Vinayaka Ninnuvina’ (Hamsadhwani), with swaras at pallavi. She rendered a crisp swaraprastara for Tyagaraja’s Jaganmohini kriti, ‘Sobillu saptaswara,’ in addition to the popular chittaswara. Dikshitar’s ‘Santhana Gopalakrishnam’ (Khamas-Rupakam), with its crisp madhyamakala segment was a straight presentation. So was ‘Niravadhi sukhada’ (Tyagaraja-Ravichandrika) with its evergreen chittaswara.

Veena concluded her morning concert with ‘Adum Chidambaramo’ (Gopalakrishna Bharathi- Behag) and the Madhuvanti tillana of Lalgudi. There was a time when vainikas used to sing throughout the concert. Veena sang the pallavi of every kriti that she played, which made the whole exercise an enjoyable one for the rasikas.

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Printable version | Jan 24, 2020 8:20:31 PM |

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