It is not merely the knowledge of the theory of music nor long and arduous training and practice with mano dharma that sustains an individual in the music arena. There is something beyond this, an exceptional feeling for music that places an individual in the top slot. This came to my mind after hearing violinist Shreya Devnath, a senior disciple of violin maestro Lalgudi Jayaraman. Vivacious music of classical tempo, was large in her violin recital for Bharat Kalachar at YGP Auditorium.Opening with a varnam of her guru in raga Husaini, she moved on to raga Bilahari (Paridhana Michite) of Patnam Subramania Iyer, when she gave free rein to her artistic instincts with an unwavering kalapramana to back her. She rendered the raga Shanmugapriya, delineating the kriti (Kumara Guruguham) of Lalgudi, revealing the confluence of good training and her own inner coiled spring of latent ability. A short raga alapana of Brindavana Saranga (Ranga Puravihara) of Dikshitar and Kunthalavarali (Unni Thuthikka Arul tha) of Papanasam Sivan that followed with cameo sketches, exhibited her strong suite, which kept the listeners on the qui vive.But it was in the raga Karaharapriya alapana that her imagination rose to a peak, particularly the distinctive enunciation of the swara passages in the vibrant creation of Thyagaraja (Sammanamevaru – Nee Sammanamevaru) with sweet and resonance sound reflecting her explorative instincts.Certainly her presentation with brisk and lively approach, along with her knack of imparting tonal colour, indeed proved her disciplined tutelage.While the mridangam of N C Bharadwaj was subdued, the rhythmic support provided by Chandrasekara Sharma was surely a result of flawed understanding, that high decibels would enhance the quality of music.[email protected]
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