Stringing the melodies

Soulful musicDwaram Satyanarayana Rao at the concert .

Soulful musicDwaram Satyanarayana Rao at the concert .  

Concert Dwaram Satyanarayana Rao’s violin concert was a testimony to his musical lineage. Ranee Kumar

Dwaram is a name that spells expertise in music whatever be the genre. More so, if it were the violin which by now has come to be associated with the famous Venkataswami Naidu’s family. So the violin concert by Dwaram Satyanarayana Rao, an AIR staff artiste, cannot belie our expectations and the output was just a testimonial of this.

The varnam, chelamela jesevu … in the regal Darbar marked the beginning of a pleasant violin solo recital by the artiste. There was a consistent melody in every string that he bowed and to top it, the ragas chosen were intrinsically melodic like the Jingla, Khamas, Simhendramadhyamam, Vagadeeswari and Kapi not to talk of Kadanakuthuhalam which seems to be customised for the violin.

The Annamacharya keertana Vandeham jagat vallabham in Hamsadhwani which spelt that lyric in utter clarity on the strings of the violin in the deft style of Dwaram Satyanarayana and support violinist Pavan Singh, they took up the sprightly Thyagaraja kriti, Anaadudanu gaanu... in raga Jingla. The tone of this raga had shades of the Hindustani melodies in it especially as it reached a tempo. The all-time favourite, Mysore Vasudevachar kriti in Khamas Brochevarevaru ra ninu vina … opened to a pleasing alapana in the beatific Khamas. The sangathis as O chaturananadhi vandhita … were literally spelt out in his dexterous bowing with the chittaswaram embedded in the composition which bloomed like little violets at his delicate touch.

He delved deep into the Simhendramadhyamam ( Ninne nammithi ) as he prefaced the raga proper and later improvising on the composition with emerging swara patterns which kept us glued to our seats in rapt attention. The lovely muktayi was embellished by DVS Sastri’s mridangam. The Vagadeeswari meandered its way through a lovely alapana and lovelier kriti Paramatmudu velige … of Thyagaraja which was superb in its melody and cadence.

The toe-tapping Raghuvamsa sudhabhudi chandrasri…, a hot favourite with many a violinist, came rippling behind the rich yet silky Vagadeeswari setting the rhythm in full swing. If anyone dozed, well this one was like a wake-up call with the percussion in tow. For the RTP, Dwaram chose the Kaapi, another dulcet raga which saw the entire expanse unveiled slowly yet steadily in the violinist’s artistry. The two-kalai chowka talam enriched the effect. The violin delineated the raga in all its intricacies and sweetness after which he launched into the tanam. Pavan Singh took it up midway and it was more alternation between the two than just a support.

The tanam, though brief was impressive and to the senior artiste’s credit it must be mentioned that he shared the dais space with support violinist rather than overshadow him completely. The speed cycles provided the necessary impetus to the ragam, tanam, pallavi where the last part, was a show of virtuosity.

The tani by three percussionists — DSR Murthy, M. Chandrakanth on the ghatam and R. Srikanth on the kanjira — gave an impressive contest despite the disparity in musical experience among the three.

The violin recital was part of the ‘Uppalapati Ankaiah Memorial Concert’ under the aegis of Sangeetha Ksheerasagaram and Thyagaraya Gana Sabha at the latter’s auditorium.

The violin delineated the raga in all its intricacies and sweetness after which he launched into the tanam.

Recommended for you