It was low-profiled as far as publicity goes for an artiste of her calibre. What more, the venue did not do justice either — Keyes High School hall sans power! Yet, the redoubtable Kanya Kumari bowed her way not batting an eyelid and had the fans at her feet.
External trappings are of little consequence to devoted artists. The ace violinist‘s rendition was at every step a tribute to the Sri Maharajapuram Santanam Memorial Concert under the aegis of Sri Chandrasekharendra Sangeetha Educational Society. Her singular greatness lies in the simple fact that her violin is endowed with a voice while that of others are with strings that are made to sing. There is sheer magic in her bowing as she fiddled her way through a fairly long alapana for Chakkani rajamargamu , scaling the nuances of Karaharapriya. Her speedy neraval or swara kalpana only enhanced the melody of her violin. The sensitivity with which she handled Tiruppughzal in Shanmukhapriya, Sri Venkatesa (Dikshitar) in Kalyana Vasantam, and Jagadananda karaka in Kapi were testimonials to her expertise.
In keeping with the occasion she chose to render two Maharajapuram compositions. The one in Ragamalika (Arabhi, Ananda Bhairavi, Hamsadhwani and so on) dwelt extensively on swara play in all the three cycles with a serve and volley between her and the percussionist D.S.R. Murthy. It was a pleasure to watch the duo throw challenges at each other while co-violinist Rajeev also made for a repartee when needed.
Most of the pieces chosen were popular ones like Bho Shambo in Revathi, and Enna tavam in Kapi where in she showed her feather touch moving from the lower octaves in gradation. Venkatachala nilaya in Sindhu Bhairavi, Annamacharya's Ramachandrudithadu in Dwijawanthi, and Bhagyaada Lakshmi baramma in Sri ragam left the audience asking for more. Her technique is unique and inimitable and that's what makes her violin concert stand apart. The ease with which she handles the instrument from which float ragas of the highest order is to be seen to be believed.
