Some of the developments taking place in the arena of Carnatic music are not only welcome but also enjoyable. We have vocal duets in good numbers which have made a name in the past and present day duets too are becoming great hits. Very rarely veena duets are heard. A student of a veena maestro lending formal support on the dais is quite a common scene. But two veena players of equal merit rendering full fledged concerts is a rarity. When it happens with all virtues of Carnatic music and Carnatic kutcheri craft in tact, the delight derived would be extraordinary. One such experience could be had at Udayabhanu Kala Sangha auditorium, Gavipuram, last Sunday evening. Young veena enthusiasts and brothers R P Prashanth and R P Pramod hold the promise of becoming one of the best veena duos in the younger generation.
Father of the veena duo R K Prasannakumar,k who hails from an esteemed Rudrapattana music family, is a meritorious vocalist and an accomplished mridangist. Prashanth also proved that he is a talented vocalist in the making. A CD of vocal music by Prasannakumar titled Nada Shakthi and another CD of a veena duet by the young Rudrapattana Brothers - Prashanth and Pramod - was released on the occasion. In this way, the evening was of great significance wherein the expertise of both father and his two sons was exhibited and explored.
In the concert, after the release of the CDs, the young Rudrapattna Veena Brothers - Prashanth and Pramod - harmonised well with extreme virtuosity and lively dynamics with a personal design. The brothers’ play was deftly animated and at times vehement. They were sensitive to the subtleties of rhythm and the demands of aesthetics. The audience was bound to be well disposed toward the young vainikas. They are clearly like-minded, synchronised and empathetic, something that translated into their performance. The net result was that the delicacy of the harmonisation could be easily heard and appreciated.
Though they have delivered a much broader musical palette in the CD, their live veena duet was a short one. Their veenas were singing, they were so perfect in their ensemble that by closing one’s eyes it seemed as one could hear only one veena. The sound was great, the playing impeccable. What more could one ask for? With an excellent instrumental balance, the duet was a complete success. They were attentive to all of the instrumental grandstanding and showmanship too.
Furthermore, the duet performance was even. The meettus and the finger technique were remarkable. It was a gigantic hit because of their sustenance of the emotional core of Carnatic veena music which was evident throughout their performance. Their fertile and infinite manodharma exposed the beauty of classical music to the fullest extent. The music they produced remained true to the essence of tradition and classicism. It was more effective as a piece of solid music.
Splendidly supported by Phanindra Bhaskar on mridanga and Subramanyam of Khanjari, respectively, the duet began with a demanding Shahana varna. They sounded as if they have been playing together forever and the tonal quality of their respective instruments really complemented each other. Their musicality was another of the pleasures of the concert. The features of both smooth and sassy play were aptly underscored by all the musicians on stage.
The repertoire for the evening was clearly a good choice. A fine alapana in Hindola for Maamavathu Sri Saraswathi sounded intimate establishing an instant rapport with the audience. Pramod adapted some non-conventional finger technique too. They continued to capitalise on their musical strengths and exhibited them in a befitting artistic manner and covered a gamut of three and a half sthayis. The amazing qualities of both veena players in capturing and conveying the concept the essence of the compositions and managing to reach the rasikas with an apparent ease and great coherence were rewarded with a loud applause. The short duet wrapped up with a vibrant Veda manthra.
Sensitive musicianship
Zealous vocalist R K Prasannakumar has found out a rare musical and personal rapport. His recital was notable for sensitive musicianship, virtuosi panache and a stylish performance attracting unanimous praise from the audience. He made music with a rich palette. The marvellous performance was clear, heartfelt and witty in terms of the rhythmic flexibility, precision and rapidity exhibited by him in luxuriant delineation of raga Brindavanasaranga for a rare Thyagaraja krithi Kamalaptha kula. The applause showed that the audience too enjoyed it. Being resonant and rich in melody and harmony with beauty in the upper register, he sang the krithi and ornamented with a detailed swaravinayasa. The entire exercise was gently articulated and soon surrounded by harmony; it was gentle but not without technical challenge. There was a musical honesty about it and Prasannakumar proved that he is among those few artistes who go about singing traditional songs that move the listeners.
He charmed the audience with the subtlety and sensitivity of his interpretations.
All the flexibility and accuracy of rhythm and exquisite musical imagination were convincing in every aspect and style of singing. Appropriately accompanied by R P Prashanth (vocal support), J K Sridhar (violin), Ramanujam (mridanga) and V S Ramesh (morsing), he concluded with Sindhubhairavi.
Refined jugalbandhi
Versatile Hindustani artiste Pandit Vishwanatha Nakod deserves to be commended for his hosting of an all-night music programme last Saturday at Ravindra Kalakshetra entitled “Smrithi” under his Renuka Sangeetha Sabha in memory of his father, the famous exponent of Hindustani music Pandit Arjunsa Nakod. The packed audience had a feast of music throughout the night by artistes drawn from different places.
The music recitals began with a pleasing vocal by Ustad Fayaz Khan. He impressed the rasikas with the alap in Abhogi raga. The bandish Laaj rakho in vilambit ek tal was endearing. Ham gareeb tum daata was rendered in teental in a pleading manner. The singing of the thumri Yaad piyaake aaye...hai Ram was emotionally surcharged.
This was followed by a refined and resonating Carnatic violin and Hindustani flute jugalbandhi by the youthful and seasoned Kumaresh and Parveen Godkhindi. The technical standard of Kumaresh and Godkhindi is second to none; they played the most virtuosic and high velocity passages in complete and total unison. On the stage, they showed mastery in musical unity and convinced us that their jugalbandhi is a great musical experience.
Such was the precision between the two performers. Their playing was technically superb, musically convincing and demonstrated fantastic understanding. The opening Bhinna shadja raga of the Bilaval Thaat spanned for about ten minutes. Both of them excelled each other. Next came the Carnatic 58th melakartha raga Hemavathi. It was spread out in the form of alap and jod. The raga had a profound exploration for the rendition of a pallavi. Their accompanists Arjunkumar (mridanga) and Rajendra Nakod (tabla) brilliantly vied for equal honour.