"Creation of devout ambiance through the deepest worship of notes" was indeed the surpassed sensation that every rasika must have experienced with Smt.VS & party, as part of "Saathur Subramaniam day" concert held at Raghasudha hall on 07/20.
Adeptly accompanied by Shri. Mysore Srikanth on violin; Shri Neyveli Skandhasubramaniam on mridangam; Shri. Trichy Murali on Ghatham, Smt. VS commenced the concert with scintillating sahana varnam (karunimpa) and casted redolent jiffies of the raga with taste. She then transitioned into Bhupalam based sadhachaleswaram and demonstrated a nice variety of sargam passages as part of manodharma textures in that song. Saama based guruguhaya was the third presentation by Smt VS, where she sketched aesthetically rich alaap at the beginning and carried the rendition with a enchanting disposition to maintain the same aural effect gained through alaap.
Smt. VS demonsrated interesting alaaps and swift sargams during her fourth recital mariveru (not sure of the raga; but it was presented with nice detail) and then moved into a soulfully swift performance on the bandish "brovamam" (again not sure of raga). Her next presentation Sivakama Sundari (mukhari) was manifested with a crystallized novelty filled with strong aesthetic values.
shankarabaranam based Endhuku was presented as the main and was detailed with a strong depth of melodic-development spanning across two octaves. Smt. VS constructed a very structural alaap and ensured to generate visual imagery of the raga with class. Her bol-alaaps, bol-baants, bol-banavs, badhats, sargams and behlawas were extraordinarily deific. Shri.Mysore Shrikanth was also at his creative best and bowed-out flagrant phrases of the raga to maintain the mesmerizing mood that smt. VS created during the alaap. Thani aavarthanam was also a sheer magic to witness -- it was a nice stroke of play towards convergence.
Karpagambike (behag) was a statement of brilliance with signature finish.It is always a sheer pleasure to listen to Smt.VS's esthetically ardent behag due to her deep voice cultures that gives best tones of meends, kans, langans, khatkas, uchharans etc. She then embellished into a crispy Shankara (O Pavanathmaja) and ensured all the key chalans of the raga being beautifully ornamented. It is definitely not easy to take up Shankara right after bihag due to arresting influences of G-S meend, G P N D S N (dheerga ) etc., like that of bihag. Likewise, it is not easy to keep up on the bilawal thaat ( shankarabaranam -> behag -> shankara) back to back. Hats off to Smt. VS for presenting such a prolific array to listeners. Smt.VS then concluded the concert with a swift sourasthram based mangalam and made the evening memorable.
Smt. Vijayalakshmy Subramaniam at Ragasudha Hall 07/20
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Sundarnrao
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satyabalu
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Re: Smt. Vijayalakshmy Subramaniam at Ragasudha Hall 07/20
*"In (O Pavanathmaja " She built into it all the phrases(Win-Zip fashion) to touch the jiva of that raga within a single syllable"O". suggestive of symbolising a rapid padadi Kesa or vice versa glance/description ( bottom up or top down) by a Bhaktha on to a huge idol of lord Hanuman standing tall on the way to (midway) Thirumala Hills! That was a rare Annamacharya composition.What is the karnatic equivalent of that raga.Anyone to my rescue :^) Hamsadwani? She is repeating just now in SVBC.
* Manji piece had the classic touch without crossing the border into Bhairavi (not to ask me how ;it is listening experience) .I recollect SKN TNK mentioning in his Lec-dem -"When he had played Manji during early part of his career in a concert everyone appreciated his way of handling Manji that day . His father after coming home he too congratulated him ;but he was to tell him to his surprise what he had played was in fact Bhairavi!"
* Lathangi -Marivera of PSI was submain. I must acknowledge Mysore Srikant impressed everyone including VS with rare touches to the nuances of that Raga(keeping his face as simple looking all the more modest as ever).*Sivakamasundari-Jaganmohini-GKB?
* There is always a perceptible divine aura one may notice in the arena on a "remembrance day of stalwarts"wherein the presence of vibration (he was radiating out of his photo with glowing kunkumapottu)will trigger the artists to import the true contents. This is more true in Raga sudha venue (the place that gives lot importance for such occasions).No wonder Dr.VS brought home in such an ambience a dedicated/devoted presentation with reverence. I had witnessed similiar situations -one in NGS(Mini hall) when she was to present a special concert on "Alatoor Day" with an unique RTP.
* Manji piece had the classic touch without crossing the border into Bhairavi (not to ask me how ;it is listening experience) .I recollect SKN TNK mentioning in his Lec-dem -"When he had played Manji during early part of his career in a concert everyone appreciated his way of handling Manji that day . His father after coming home he too congratulated him ;but he was to tell him to his surprise what he had played was in fact Bhairavi!"
* Lathangi -Marivera of PSI was submain. I must acknowledge Mysore Srikant impressed everyone including VS with rare touches to the nuances of that Raga(keeping his face as simple looking all the more modest as ever).*Sivakamasundari-Jaganmohini-GKB?
* There is always a perceptible divine aura one may notice in the arena on a "remembrance day of stalwarts"wherein the presence of vibration (he was radiating out of his photo with glowing kunkumapottu)will trigger the artists to import the true contents. This is more true in Raga sudha venue (the place that gives lot importance for such occasions).No wonder Dr.VS brought home in such an ambience a dedicated/devoted presentation with reverence. I had witnessed similiar situations -one in NGS(Mini hall) when she was to present a special concert on "Alatoor Day" with an unique RTP.