Concert with a different arrangement it was, and surely. Lucky to be an audience at an interesting concert aptly titled Carnatic chills held in London on 17th Oct 2010. This was organised by Milapfest who are pioneering new ways of getting Indian music across to the masses across not limited to just a group. Carnatic Chills was part of Milapfest's monthly Indian music concert series Music for the Mind and Soul.
Anil Srinivasan, Lalgudi GJR Krishnan and BS Purushotham jelled well coming together to create a unique and thematic concept with the three instruments rarely ever heard together in Indian classical music - piano, violin and kanjira, an instrument similar to the tambourine.
This ensemble of instruments is the first time in the UK. It looked as though the pianist Anil Srinivasan knew the plot very well.
Anil srinivasan who apparently held the strings of the show together is a pianist who is equally trained in Carnatic and western classical music. His playing never mixes the two styles. He layers across a supplementary abstract audio feel filled with harmony. Krishnan with his emotive violin playing establishes a good base layer with the traditional compositions. More often than not, there is no percussion to hold this free-flowing music. But when the Khanjira subtly sounds it is very meaningful, value-adding and sensitive.
Krishnan travels extensively on Carnatic music tours all over the world. His style like his father's is the gayaka style imitating the vocal rendition. Krishan is the son of the illustrious and legendary Lalgudi G Jayaraman. The important feature of the Gayaka style is that one could decipher the sahithya or the song part from the instrument’s output be it a popular Carnatic song or otherwise.
I haven’t yet detailed the actual content of the concert which isn’t the best way to review a concert! I was just too carried away with the theme.
The alap in Raga Amritavarshini a popular composition of Mysore Vasudeva Acharya was very captivating. The composition Sudhamayee was presented well with beautiful variation on citteswara.
Akhilandeshari in Raga Dwijavanti was well embellished with nuances full of grammatical and pleasant gamakams / gliss. Dwijavanti is a rear raga for a western instrument and Anil made it appear very easy.
Raga Andolika – the main item of the evening with a tricky scale and is not easily available for smooth runs on the Arohana or Avarohana scales – but I must say Krishnan and Anil took on raga elaboration with elan. They both jelled very well in producing the most emotively appealing combination of notes. The composition Raga sudha rasa with ragamalika swaras was the highlight. Krishnan being a traditionalist did justice from the Carnatic purist’s perspective.
Concert also featured a tillana in Raga mand which is Lalgudi Jayaraman’s composition.
Anil’s layering of chords and harmony was a real treat. The introduction to the pieces by the pianist kept the audience more technically informed of goings on.
Prushotham’s sensitive playing enhanced the total appeal. Khanjira otherwise known to be a loud instrument looked like having a twin and split personality in Purushothm’s control. His skills came out during tani avartanam. Absence of mridangam was a notable exclusion.
For the uninitiated young, who are psyched by the idea of listening to a heavy Carnatic format concert for long hours, such experimentation may prove a hit. Only time will bring out the long term impact of the experimentation.
Was the concert theme more contemporary, classical, Carnatic was for the listener to decide. The concert was a performance of great elan and sophistication.
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