Chennai's Nanganallur boasts of at least 17 associations, which promote Carnatic music, but Satguru Sri Thyagaraja Aradhana Sabha is one of those that have been around for decades. Their 35th annual celebrations were held over two days with great warmth and aplomb encompassing all the facets of an Aradhana including group Pancharatna rendering led by Bombay Sisters and akhanda singing by vidwans.
The Sabha hosted a concert by veteran violinist V.V. Subrahmanyam on March 1. This septuagenarian has seen glorious days from accompanying M.S. Subbulakshmi to Chembai Vaidyanatha Bhagavatar to GNB to Madurai Mani to name a few. His appearance at this Sabha in a two-hour concert was a rare treat. With violin support by his son V.V.S. Murari (violin) and accompanied by another legend Srimushnam Raja Rao (mridangam), VVS’s solo violin recital communicated to the audience Tyagaraja’s bhakti and bhava with full energetic appeal.
To be able to create that fine balance of musicality and feeling without resorting to gimmicks at any point is indeed the mark of a great musician. The concert stood out for VVS’s style — a beautiful mix of kuzhaivu and azhutham — where the nadam flows like a river. Subrahmanyam is one of those musicians, who with his 50-year experience is a guiding light to young violinists. Incidentally, he is going on a world music tour beginning next month. VVS began with Nada Tanumanisam kriti appropriate for the occasion ‘Nada Thanumanisham’ (Chitta Ranjani), and followed this up with a sedate ‘Tulasidalamulache’ (Mayamalavagowla) wherein every facet of the raga came into full play.
ADVERTISEMENT
Giving him solid support throughout was V.V.S. Murari. During the scintillating tani, the other legend on stage Srimushnam Raja Rao was in his element. When VVS brought forth a brief but impressive essay of raga Gowrimanohari, a precursor to ‘Gurulekha,’ the sweetness of that violin’s strains was unbeatable. The unwavering flow of notes during the slow, fast and superfast kalpanaswara was appreciated. The lilting notes of ‘Nannu Kannatalli’ (Kesari — Sindhu Kannada, according to some) came as a quick successor.
The Varamu raga alapana soaked in melody, preceded ‘Manasuloni.’ (Some schools follow a patantharam of this kriti in Raga Hindolam)
Sankarabharanam was etched with its nuances and the kriti, ‘Edutha nilachite’ deepened the contemplative mood. In a fitting finale, the embellishment of kalpanaswara came both in slow and fast kalam. The recital concluded with ‘Tu dayalu’ (Desh), a Tulsidas Bhajan.
ADVERTISEMENT