Melody and the Monk

HYDERABAD : As part of Tyagaraja Aradhana organised by Sharada Cultural Trust at Keyes High School recently, there was a brilliant Carnatic music concert of Jayanthi Kumaresh on the veena and the Fiddling Monk (Kumaresh) on the violin.  The musician couple opened the recital with a Kalyani varnam ‘Vanajakshi’: a brisk rendering in the third kaalam – a quick welcome song. A fast warming up literally for the disappearing winter. When the charanam repeated after every chitta swaram I remembered my childhood: I used to sing Niluparaani mohamaaaye…”(exceedingly besotted with love!), at the age of 10, without knowing the meaning of the lyric. 

Next came a dialogue between the melodious veena and the dynamic violin: exploring ‘Chakravakam’ the instruments spoke to each other, weighing the limitations of each and discovering the possibilities to reach melodies through different notes. This experimentation, Jayanthi said, is the result of their recent collaboration; the husband – wife duo has both earned reputation as renowned artists in their respective fields before coming together on the dais.

For more than forty years Ganesh-Kumaresh the sibling duo wowed audiences across the world, inspiring an entire generation of young performers and listeners. Jayanthi Kumaresh is one of the foremost veena players; she comes from a lineage of musicians who have been practising Carnatic music for six generations and started playing the Saraswati Veena at the age of three. She is the niece of legendary violinist late Lalgudi Jayaraman.

His sister, Lalgudi Rajalakshmi, Jayanthi’s mother, was her first teacher and she later underwent intense training from her maternal aunt and Sundaram Balachander (Veena Maestro). She recently toured North America with tabla maestro Zakir Hussain. She created the Indian National Orchestra (INO) with a host of Hindustani and Carnatic musicians to present music in an ensemble format. Through her interesting “Cup “O” Carnatic Music” series, she educates audience on the social media imparting music appreciation. 

Amidst the aromas of Ven Pongal, Masala Dosai, Vadai and Sevai Upma reigned over by the irresistible coffee; the concert went on smoothly. The duo’s creation in Chakravakam had the audience confused (I mean, those who remained seated): but when Jayanthi explained and unravelled the puzzle, they sighed in relief. Then the couple took up ‘Sree Durge’ in ragam Sree Ranjani –Muthuswami Deekshitar’s kriti in praise of Goddess Durga.

For many, dinner was in full swing as Behag unfolded leisurely. By the time ‘tania avartanam’ started, people were fully satiated and settled down in their chairs. Usually this is the time the “exodus” happens. Tyagaraja’s “Manasa etu lorthune…’ in Malayamarutham had a lulling effect on many. Raag Desh came like a breath of fresh air followed by a swarakshara pallavi.

Senchureethi, Punnagavarali, Nadanamakriya and Sindhu Bhairavi melded beautifully in the Raga Malika of ‘Sree Chakra Raja Simhasaneshwari’. ‘Harivarasanam’ had everyone tapping in full gratification. Hearts lighter with the joy of music, bags heavier with goodies bought at bargained prices, the audience stood up and gave a “standing ovation”, which the melody couple richly deserved.