– S. Sivaramakrishnan
The Music Academy had allocated two slots for violin concerts (A. Kanyakumari, Lalgudi G.J.R. Krishnan and Vijayalakshmi), three for veena (Jayanthi Kumaresh, N. Ananthanarayanan, Ramana Balachandran) and one for flute (J.B. Sruthi Sagar) in the instrumental music category.
Violin vidushi A. Kanyakumari began the recital with Mahaganapatim bhavaye, a unique kriti in Natanarayani on Lord Vinayaka by Dikshitar, which is not commonly heard in concerts these days. In Saraseeruhasanapriye (Nata) — the noted composition on the Goddess of learning, brilliant swaraprastara was rendered at Saraswati — the celebrated charana sahitya. Chakkani raja (Kharaharapriya), the main kriti of the concert, was led through a ‘rajamargam’ after a fitting alapana and tanam. Swaras were rendered for Kantikisundara. Nishant Chandran (violin) followed closely, K.V. Prasad (mridangam) and Bhagyalakshmi M. Krishna (morsing) — perhaps the only lady artist playing the instrument — fared well with a compact tani. The concert concluded with the ever popular Bhagyada Lakshmi. Hechariga ra ra (Yadukulakambhoji), Sreepatey (Nagaswaravali) and Kripaya palaya saurey (Charukesi) were the other kritis featured in the concert.
Celebrated violin duo Lalgudi G.J.R. Krishnan and Vijayalakshmi accompanied by Anantha R. Krishnan (mridangam) and Suresh Vaidyanathan (ghatam) opened their concert with Bagayanaiya in Chandrajyoti. Next was a brief, succinct alapana of Natakurinji (by Vijayalakshmi) for Mamava sada varade, a Swati Tirunal composition, with a compact set of swaras at the pallavi. The Dikshitar masterpiece, Meenakshi mey mudam dehi – main suite of the recital — was ushered in with an expansive delineation of Poorvikalyani by Krishnan. The siblings took turns to present niraval brimming with sahitya bhava, at Madhurapurinilaye followed by laya-laden sumptuous swaraprastara laced with occasional poruttams, characteristic of the Lalgudi bani. The kuraippu segment culminated in a precise, grand takeoff at arai-idam. Tani by Anantha and Suresh, that traversed various nadais, was marked by clarity to end in an imaginative mohra covering just three tala cycles… read more