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Monday, August 16, 2004

K G Vijayakrishnan, Chamber Veena Concert

Dr. K. G. Vijayakrishnan's chamber vINai concert

August 14, 2004. 7:00 pm


1. AnandaBhairavi varNam - cheluvuda
2. tanakku nihar illAda - shuddha sAvEri - UttukADu vEnkata kavi
3. trilOka mAtA - pharaz - shyAmA sAstri
4. abhayAmbA - kalyANi - muttsvAmi dIkShitar (Alapanai)
5. EvarunnAru - mALavashrI - tyAgaraja
6. kAmAkShi - bhairavi - shyAmA sAstri svarajati (Alapanai with rAgamAlikA tAnam in bhairavi, hamIr kalyANi, aTANa, mOhanam, yedukulakAmbhOji, khamAs)
7. nirupamAna - bEhAg jAvali - dharmapuri subbarAya Iyer
8. ituvaNTi - kAnaDa padam - kShEtragnya
9. ippadi En manam - suruTTi padam - composer unknown
10. tODi tillAna- Poochi Iyengar
11. nIkEla - nAdanAmakriyA padam - kShEtragnya
12. mangaLam - shrIrAma jayamangalam - suruTTi - Papanasam Sivan

the evening's starter was a rare Anandhabhairavi vaRNam. the next OVK kriti was nicely rendered. the pharaz was also good. kalyANi elaborations were nice, the kriti, one probably cant get a more rare piece. mALavashrI provided a good change of tempo before the main piece, bhairavi, in which the Alapanai was a bit lacking in some places. The bhairavi effect was not felt at those instances. the tanam was good and the rAgamAlika was also well rendered. The svarajati again was good. the three padams and the jAvaLi were also so beautifully rendered giving a stamp of the dhanammal school. Another unheard of piece is the tODi tillAna. All thro' the concert, it was nalla sangItham

The concert venue was the drawing room of a flat which could accomodate probably a maximum of about 25 people, but actually the room was only half full which included very senior vaiNikAs and just a few odd ones (yours truly inclusive). Also, the only accompaniment Dr. KGV had was the shruti box. After the concert, he also explained the difference between his (ie vINai dhanammal) style and other styles of vINai playing. He gave explanations how the left index finger and left middle finger should be operated on the string independently at times to give a better effect compared to the normal style and this way the left middle finger can also be used for plucking.

Strikingly different from the mp3 audios of Dhanammal herself, the concert was enjoyable. Probably, the small room venue had some effect similar to the one which had the audience of the grand old lady captive.
Also, there were no neraval or swarams all thro' the concert. which if it were present would have made the concert more full. All the kritis but for the tyAgarAja kriti and the bhairavi svarajati were rare. The pAtantarams for the pieces (incl. of the common ones) were quite different from what is rendered by most other vidwans. As, Dr. KGV sang along while he was playing, one could identify the kriti and hence were able to appreciate the differences in the pAtAntaram.

Over all it was a good infotainment programme that evening.

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