FRIDAY REVIEW

Virtuoso veena recital

Tuneful rendition D. Balakrishna.

Tuneful rendition D. Balakrishna.   | Photo Credit: Photo: C.V. Subrahmanyam

A. RAMALINGA SASTRY

Balakrishna’s recital was a treat for connoisseurs.



Visakha Music and Dance Academy organised a veena recital by D. Balakrishna of Bangalore at its auditorium, Kalabharati. Balakrishna was accompanied on mridangam by veteran vidwan and an artiste of AIR, V.S. Rajagopal, and on ghatam by his disciple S.N. Narayanamurty, both from Bangalore.

Exhibiting commendable ambidexterity coupled with verve, vivacity and virtuosity, he made his playing the instrument leave an impression of being an assiduously heralded technique of exploiting all characteristics features of veena. He also seemed to be expertly making an indepth survey of carnatic music in general and selectively in each of the compositions he chose to play. The style reflected glimpses of the Mysore school of playing veena as it stood impeccably fine tuned and perfected by his father and guru Doraiswamy Ayyangar.

He got off to a splendid start with Tulasidalamulache (Maayamalavagoula) of Thyagaraja, adorned with exquisite essays of raga, neravu and swaram. Similar were the renditions of Paridaanamichithe (Bilhari) and Naadopasanache (Begada) interspersed with Taramugaadura of Veena Seshanna (Dharmavathi) and Ramaa Saraswathi of Dixitar (Naasamani). Then emerged an eruditely structured and aesthetically rendered ragam, tanam and pallavi (Hari Mora Vinave) in Bhairavi in Aaditalam. The swaram in ragamalika also had all the five ghanaragas besides Kedaram.

Both Rajagopal and Murty not only lent excellent support but also executed an exhilarating thani. The recital concluded with with a javali in Behag.



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