A two-and-a-half-hour electric violin recital by Balabhaskar at Chalakudy recently was quintessential of his mastery over the nuances of Carnatic music as well as the instrument. Innovation, an intrinsic ingredient of tradition, seemed to be the USP of this fusion-music wizard as he bowed out popular compositions that assumed a novel dimension thanks to his inimitable style. Though an instrumental concert, the musician’s care for sahithya was discernible throughout.
Braving the challenges posed by the sound system, he made the Sreeraga varnam impressive. Then followed a 20-minute colourful delineation of ‘Vathapi Ganapathim bhajeham’, marked by plurality of sangathis and a shower of swaras. An abrupt stop after the word ‘Hamsadwani’ in the last charanam, which was repeated twice, was charming.
Maha Vaidyanathan’s ‘Paahimam Sree Rajarajeswaree’ in Janaranjini, Adi, followed. Syama Sastri’s composition ‘Marive gati evaramma mahilo nannu brochutaku’ in Anandabhairavi, Misra chap, stood out for its soothing delineation and the slow tempo in which it was presented. The elegance of the Bhashanga raga was dexterously brought out by touching the anya swara (Chatursruti daivatha).
Balabhaskar exhibited a flair for fast tempo thereafter in the couple of kritis that ensued. ‘Gurulekha etuvanti guniki’ in Gourimanohari, Khanta chap, was played in a very fast tempo. He seemed to instruct the accompaniments to catch up with him by keeping the rhythm with his hands. He went into an overdrive during the charanam, but returned to the original tempo while playing the pallavi. One wondered whether such a break-neck speed for the Tyagaraja’s composition, which was a tribute to the Guru, the preceptor, was justifiable. Ingenious phrases were bowed out in the Mayamalavagoula kriti of Swati Tirunal, ‘Deva Deva Kalayamite’ in Roopakam, which he played next.
Raga Kathanakuthoohalam, known for its Western pattern of notes, was remarkable and the possibility of chord notes was effectively exploited. But he was careful enough not to overdo the same. Patnam Subramania Iyer’s ‘Raghu vamsa sudha’ in Adi was the composition.
The main raga for the evening was Abheri and the composition was the familiar ‘Nagumomu ganaleni’ of Tyagaraja. The elaboration of the raga was supported by the second violin by Ambalapuzha Pradeep. Interestingly, the musician slipped into the composition abruptly and the percussionists were alert enough to accompany him.
Tani led by Bombay K.R. Ganesh (mridangam) was energising. Konnakkol (recitation of rhythmic syllables) by Payyannur Govinda Prasad (morsing), rarely presented these days, enhanced the beauty of this part. A notable innovation to the percussion was tabla played by Trivandrum Prasanth. His judicious beats enhanced the rhythmic content of the concert. Vellattanjur Sreejith played on the ghatam. By tagging Kapi and Revathi to the number, the musician made the number more enjoyable.
A couple of songs from Tamil films Indira and Moondram Pirai and one from Moodupadam, a Malayalam film, marked the tukkadas. A thillana in Dhanasree after, the concert was wound up with Ashtalakshmi sthavam in Madhyamavathy.
The recital was the inaugural programme of ‘Temple of Arts’, a new outfit of CKMNSS Higher Secondary School, for creating awareness among students about the cultural heritage of the country.
