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In sharp contrast
THERE WAS distinct difference in the fare served by the duos, T. Rukmani-Amrita Murali and Ganesh-Kumaresh at the Papa Venkataramiah Birth Centenary concerts under the auspices of Hamsadhwani.
Ganesh and Kumaresh, who are innovators, nonconformists in a sense, are not shy to introduce unusual phrases and idioms with emphasis on entertainment and virtuosity. But how far it meets with aesthetics is open to debate. Ganesh uses the contact violin and he sings too not only snatches but the whole kriti on occasions. This again might not have met with the approval of all those who had assembled in that day. The Surati RTP was rendered in a peremptory manner.
The Mohana alapana for Mysore Vasudevachar's "Rararivalochana" by Kumaresh was catchy. The composer would have been satisfied that the chittai swaras were not left out by the duo. "Chandrasekhara" (Ravi Kannan) tuned in Shivaranjani by Ganesh was most appealing. The Sindhubhairavi Tiruppugazh, a ragamalika devotional, Tyagaraja's "Shobillu", "Nadatanu" and "Paramatmudu" were tellingly played.
Guruvayur Durai's teermanams were in tune with the violinists' exuberant display. Coimbatore S.V. Viswanathan played the ghatam.
There was poise, peace and tranquillity all the way in Rukmini-Amrita Murali's concert. Rukmini allowed full scope to her disciple in alapanas. Tyagaraja's "Nidhichala" in Kalyani and swaras were on time tested lines. "Nannuvidachi" (Ritigowla), Dikshitar's "Akhilandeswari" (Dwijavanti), Bharatiyar's "Chinnanjiru kiliye" and "Nagumomu" (Abheri) were played in style.
R. Ramesh gave wholehearted support on the mridangam though on a few occasions he could have been less forceful in his beats. S. V. Ramani (ghatam) did his role well enough.
KSR
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