A jugalbandi was arranged by Sangeethapriya at Raga Sudha Hall, where a happy confluence of the Carnatic and Hindustani systems was sought to be realised. Narmadha (on the violin) and Injikkudi Subramaniam (on the nagaswaram) were able to achieve th is substantially when they played Raag Purya Dhanasri and Pantuvarali in a parallel manner presenting characteristic expressions stamped with the singular grace and beauty each tradition is known for.
Subramaniam played the ragam as an intelligent mix of crowned waiting notes and zestful single-breath brigas, and even ventured to present the adhi mandhara sthayi, where the demanding governing principle is an extraordinarily sensitive ear and an exalted awareness of the swarasthanam. As with all violinists, solos mean freedom for the artists in terms of improvisations which leads to glowing creativity. Narmadha showed that she is a rich spring of manodharma as she applied her mind to cultivate thoughts on the two Indian musical systems and presented them with equal facility. Core values
What was accessible to the modern consciousness through this concert was that these two streams of music have their own respectable ideals and core values. “One is not, therefore, more equal than the other.”
It was still quite unexpected when the first three pieces – ‘Maha Ganapathim’ (Naatai, Dikshithar), ‘Sudha Mayee(Amrithavarshini, Muthiah Bhagavatar) and Pakkala Nilabadi (Kharaharapriya, Tyagaraja) — were presented by the duo between them in the regular concert-like fashion, though the alapana of Kharaharapriya had aesthetics and maturity in nuances quite typical of the vadhyams and vidhwans occupying the stage.
Subramaniam shrugged off underplay that he had cast upon himself till this moment and thereby unravelled the immense potential of Narmadha too. Ganapathyraman on the mridangam and Gopalakrishnan on the ganjira accompanied with a keen sense of layam that was both spirited and controlled in keeping with the mood. They gave a fine but restricted thani that had many well-calculated and well-conceived phrases. This concert was held at Raga Sudha Hall.
Subramaniam played the ragam as an intelligent mix of crowned waiting notes and zestful single-breath brigas, and even ventured to present the adhi mandhara sthayi, where the demanding governing principle is an extraordinarily sensitive ear and an exalted awareness of the swarasthanam. As with all violinists, solos mean freedom for the artists in terms of improvisations which leads to glowing creativity. Narmadha showed that she is a rich spring of manodharma as she applied her mind to cultivate thoughts on the two Indian musical systems and presented them with equal facility. Core values
What was accessible to the modern consciousness through this concert was that these two streams of music have their own respectable ideals and core values. “One is not, therefore, more equal than the other.”
It was still quite unexpected when the first three pieces – ‘Maha Ganapathim’ (Naatai, Dikshithar), ‘Sudha Mayee(Amrithavarshini, Muthiah Bhagavatar) and Pakkala Nilabadi (Kharaharapriya, Tyagaraja) — were presented by the duo between them in the regular concert-like fashion, though the alapana of Kharaharapriya had aesthetics and maturity in nuances quite typical of the vadhyams and vidhwans occupying the stage.
Subramaniam shrugged off underplay that he had cast upon himself till this moment and thereby unravelled the immense potential of Narmadha too. Ganapathyraman on the mridangam and Gopalakrishnan on the ganjira accompanied with a keen sense of layam that was both spirited and controlled in keeping with the mood. They gave a fine but restricted thani that had many well-calculated and well-conceived phrases. This concert was held at Raga Sudha Hall.
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