Instrumental concerts @ the Music Academy
The inaugural session of the Music Academy conference and concerts 2021 was marked by a nagaswaram concert by S. Kasim and S. Babu accompanied on the tavil by G. Rajan and M. Vijayakumar. The vidwans began with Tatvamariya tarama in Reetigaula (Papanasam Sivan) with a compact swaraprastara in the pallavi. Hiranmayeem Lakshmeem sada bhajami in Lalita followed. Next was a breezy alapana of Saranga for Neevada ne gana. Swaraprastara also consisted of a few beautiful avartas in keezhkalam for this kriti in khanda Chapu. Kedaragaula (Paraakela nanu) was the main kriti handled with perfect adherence to the sahitya. The raga was well-handled and proved that the duo have inherited many playing techniques, including the long karvai vasippu (sustained notes) from their grandfather Sangita Kalanidhi Sheik Chinna Moulana. Swaraprastara in second speed had melshadja kuraippu. The tani was brief and compact with fine inputs for Adi tala. A couple of ‘shehnai’ takes were woven into the concluding Darbari Kanada piece.

Sangita Kalanidhi A. Kanyakumari commenced her violin concert with Ekadantam bhaje (Bilahari) with a compact swaraprastara in the pallavi. This kriti of Dikshitar is not commonly heard these days. A pleasant delineation of Jayantasena followed by Tyagaraja’s Vinatasuta vahana in vilamba kala was a real treat.

Vanchatonuna (Karnaranjani) with a brief alapana and swaraprastara preceded Palinchu Kamakshi—the main kriti of the concert, with a leisurely alapana of Madhyamavati. The vidushi was ably supported by one of her star disciples, L. Ramakrishnan. The swaraprastara too was finely shared by the duo at the charana sahitya Kantamagu peru ponditivi. Accompaniment and tani by K.V. Prasad (mridangam) and B.S. Purushotham (khanjira) matched the mood of the concert. Govinda nina namame, in a soothing Janasammodini brought the presentation to a finish… read more