Chords in sync with rhythm

With Tiruvarur Bhaktavatsalam’s support on the mridangam, Nagaraj and Manjunath created a few rare rhythmic designs.

Dexterous: Mysore Manjunath and Naganath. Photo: R. Ragu

Music's irrepressible exuberance came to the fore in the forenoon concert of Mysore M. Nagaraj and Mysore M. Manjunath. The main piece they rendered was Syama Sastri’s ‘Sarojadalanetri Himagiriputri,’ which was a favourite of M.S. They shared the comprehensive alapana, drawing out the majesty of Sankarabharanam, with an outstanding and truly artistic sense of tuneful taste.

Manjunath started the elucidation and Nagaraj played some chords giving it a rare harmonic effect and vice versa. The niraval was at the usual ‘Korivachina’ and the swaras were easy-flowing. The ‘gamapaamaga-rigasaariga’ phrase was used so effectively and repeatedly with variations that it created a musical swing. The well-woven korvai drew spontaneous ovation from the audience.

Tiruvarur Bhaktavatsalam, an outstanding percussionist, on the mridangam offered a

scintillating thani along with A.S. Shankar on the ghatam. Together they created a few rare rhythmic designs. The tisra varieties in Khanda nadai were indeed the very grammar for perfection. Not a single rasika left the auditorium during the thani.

The Mysore duo opened up the concert with the lovely Gowlipanthu kriti of

Tyagaraja, ‘Theratheeyaga Raadha.’ The rendering brought out the spirit of the composition. Next came `Sarasamukhi Sakala Bhagyathe' of Muthaiah Bhagavatar in Gowdamallar, set to Roopaka tala on Sri Chamundeswari. This is a piece popularised by Madurai Mani Iyer.

The Purvikalyani alapana shared between them produced a few poetic and expressive accents. Manjunath’s super-fast phrases gave a lilting effect. In ‘Gnanamosakaraadha,’ both the violins merged and breathed as one. Niraval was at ‘Paramathmudu Jivathmudu’ and here, Bhakthavatsalam produced some dazzling supportive nadais. Then came the beautiful Hindolam kriti of Tyagaraja, ‘Manasuloni’ which they played with sensitivity and dexterity. The swaraprastaras alternating between violin and mridangam were aesthetically enchanting. They wound up with a Tulsidas bhajan ‘Thumhe Sarana’ in Haricharan (that sounded like Hamsanandi, with both Madhyamas) and ‘Pahi Pahi Gajaananaa’ of Ganapathi Sachidananda Swami in Sindhubhairavi.

Excellent understanding and strong musical foundation marked the Mysore duo’s concert.

( >ramakrishnan.h@gmail.com )