Given the experience of the artists, the audience looked forward to an evening of fine classical music, and got it at the violin duet by Lalgudi Srimathi Brahmanandam and Lalgudi Anuradha Sridhar. The artists did live up to expectations.
The suave and sensitive accompaniment by R. Ramesh on the mridangam and Sukanya Ramgopal on the ghatam was a major force in the enrichment of the concert. A brisk, lilting, khanda chapu rhythm made for excellent beginning.
Annamacharya's composition ‘Vandeham' brought the promise of lively development. Devagandhari was not what could exactly be termed sprightly but the graceful treatment of Dikshitar's ‘Kshitija Ramanam' in Adi was welcome. For the third item, Tyagaraja's ‘Orajupu' in Kannadagowlai, Desadi, the artists brought out the beauty of the raga and the emotions effectively.
It was an aural treat listening to the two violins, sometimes playing on the same scale and sometimes on two octaves. It is not so much the technique or erudition that adds to the musical sensitivity. Gopalakrishna Bharati's song in Nattakurinji, ‘Vazhi Naraithirukkude' was another instance of simplicity producing richness.
‘Ganamurte' (Tyagaraja, Ganamurti, Desadi talam), though rendered at a contrasting high pace, had the same level of ethos, thanks to controlled playing. The team raised the audience consciousness with co-ordinated work.
The first dedicated alapana in the concert came nearly an hour after the start, when Anuradha unfolded a splendorous Kalyani, taking off at madhya stayi.
She etched the raga with power and passion, the enriching phrases gliding into place. Tyagaraja's kriti in tisra adi was elaborated by Srimathi and Anuradha, with niraval and kalpanaswaras on ‘Gunaseela Vaibhava' Their playing was augmented by the imaginative playing of Sukanya and Ramesh. The percussion duo's pervasive contribution was noteworthy as much during accompanying as in the thani.
The artists demonstrated how 30 to 40 avartanams of playing could be made to appear more weighty when the phrases are handled with imagination and adroitness. Kalki's ‘Malai Pozhudinile' and a thillana in Ragesri capped the evening's event.
