Kaleidoscopic View of Swaras

Published: 17th December 2014 06:02 AM  |   Last Updated: 17th December 2014 06:02 AM   |  A+A-


CHENNAI: The violin recital of Dr Narmada was replete with richly flowing sanchara designs when she articulated the ‘Parur violin style’ with pivotal precision, in her recent performance at Krishna Gana Sabha. The recital proved her individual stamp of artistry. A violinist of repute and a recipient of the Kalaimamani title instituted by the Tamil Nadu government, Narmada has been successful in popularising and demonstrating the techniques of the instrument, which flourished during the eras of M S Gopalakrishnan (her father) Parur Sundaram Iyer (her grandfather).

Her resourcefulness came to the fore, when she began the recital. She rendered Saranga raga varnam on a single string in dual speed, followed by Malahari raga kriti by Dishitar (Panchamantanga), communicating the nuances of the raga, which evidently portrayed her artistic excellence. When she took up raga Sri Ranjani kriti of Thyagaraja (Marubalga), her robust knowledge of classicism, following the sampradaya tradition, came to the fore.

The number also got appreciation from the rasikas, who were lost in the divinity. In raga Mohanam and (Bhavanutha) of Thyagaraja, the kriti became the fluid juxtaposition of long karvai presentation. Narmada showed extraordinary refinement for her age. One could sense this when she involved herself fully during the enthralling rendition in raga Darbarikanada (tarangam) and (Dasar padam) in raga Desh.

Sivaraman accompanied on the mridangam while Rajagopal played the kanjira.


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