Precision and speedy sancharas marked the concert of violinist Kanyakumari with support from her disciple Embar Kannan. The years spent with M.L. Vasanthakumari still linger in structuring the performance. It has provided her with incredible mastery over the instrument. But karvais and madhyamakala phrasing in alapanas that provide spacing technique was not much in evidence. It was all a single-kala procedure.
Kanyakumari's sense of refinement was evident throughout her performance. The raga picturisation of Sahana (‘E Vasuda Nee Vanti'), Bhairavi (‘Kamakshi Swarajah') and Madhyamavati (‘Saravana Bhava Guhane') was distinct with a delightful mix of direction and accuracy. It represented healthy confidence levels.
The Sahana raga alapana was inspirational and sustained by melodic motivation. Kanyakumari distilled the essence of the raga, with development that was finely balanced and graceful. Though the sancharas were familiar, it had immense appeal.
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Kanyakumari's Bhairavi was played in a soothing style. The alapana carried depth, flexibility and aesthetic balance to make it a classic. Tranquillity was the most important aspect of her interpretation, based on affability and expressional felicity.
The Madhyamavati essay too revealed all these elements, which was shared by Embar Kannan. In every respect, Kannan proved himself to be the alter ego of Kanyakumari. This proclaimed him as a mature violinist well moulded by his guru.
K. V. Prasad (mridangam) and Purushothaman (ganjira) lifted the concert with their support. Their laya beats revealed their ability and accompanying insights. Their enrichment of the kritis served as a synopsis for the tani. There was much merit in their percussive style and their understanding of sound-management proved an asset.
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