Amruta Venkatesh-V.L.Kumar-Mannarkoil J Balaji on 3rd January 2007
1) Vanajaaksha-Reetigowla-Ata
2) Vidhulaku - Maayamaalavagowla-Adi
3) Budhamaashrayami-Naatakurinji-Misra Jampa
4) Nenarunchara-Simhavaahini-Adi
5) Maamavasadha-Kaanada-Rupakam
6) Karunayelakanden-Varali-Adi
7) Geetartamu-Surati-Adi
8) Sakhi Praana and Mangalam
Amruta Venkatesh a talented youngster from Bangalore, sang extremely well for the Inaugural concert of the TNK Foundation Anniversary programme held at Nada Inbam on 3rd January 2007. She had all the qualities of becoming a very nice musician. A good voice, Good paataantara, laya gnanam, Sruti Shuddham and on top of it pleasing stage manners. She has a commanding style and whatever she renders has the stamp of authority arising out of "hey-i-am-not-afraid-to-sing-this" attitude, which is very positive, and becoz of this she gets a lot of creativity especially while rendering raga alapana, niraval and swaraprasthaaras. Even her Laya calculations have majestic grip. Dont want to deal extensively about each and every kriti listed above in detail. She sang swaras for Vidhulaku, Maamavasadha and Geetartamu. All had the grandeur of the respective ragas intertwined with the beauty of laya. Especially her surati raga had rich bhava and emotive appeal.
V.L.Kumar was simply superb on violin and he has an excellent technique which i have observed in his recent concerts during the season of performing long bows of a certain swara whether it is Ma or Pa or Ni depending on the raga, from where the main artiste tries to sing varieties in a particular raga. this gives excellent platform for the main singer to creatively utilise the sruti aspect at that particular point. While i was mentioning this to Shri.V.L.Kumar he promptly pointed out that I am right and he said the reason being this: At home the main artiste sings only with the Tambura sruti at the level in which he/she can listen and sing at leisure. Most of the times at home there is no violin or mridangam. So he/she can freely sing whatever he/she feels like singing. The same feeling if they should get on stage they should listen to their sruti properly at those points where they are likely to expand further. That is the reason why this technique of his comes in handy. It really gives such a nice feeling on the stage and i hope the same will be with the main artiste too.
I played tani for Geetartamu kriti which was a short one because the time was short and Shri.T.N.K wanted to speak about the artistes. Actually i said I dont want to play thani after such a sober concert and also didnt want to spoil the sober mood that the concert had created. But i played a short tani and hope it did not spoil the sober mood.
One word about the Lancor Corp which sponsored the above programme. This corporation's Mr.Sekar has started this Foundation and it is located at Besant Nagar. They have started a Music School and they are at present teaching Violin and Vocal under the able guidance of the maestro TNK. Further details can be had from TNK mama himself. They are going to extend further to other areas also and they are also taking up lots of students. So anyone interested in learning the maestro's technique of violin playing can approach ShriTNK and be a part of this tradition.
JB