R. Vedavalli has a penchant for the uncommon and the unusual. This welcome trait in her was perceivable clearly in her concert for the Indian Fine Arts. The two pieces which had the listeners' attention riveted to them were ``Sri Vidya Rajagopalam Bhajeham'' in Jaganmohanam, (38th Melakartha - Prathimadhyamam) a rare kriti of Muthuswami Dikshitar in a rarer ragam and Papavinasam Mudaliar's Bhairavi Keertana,`` Mukhatai Kaati'', which is not also in the run of musical rounds. The raga alapana of Bhairavi was replete with bhava, especially at the mantra sthayi; which is the special characteristic of this raga. Her deep involvement in the art and wide scholarship were brought into sharp focus in her Keeravani essay and the tanam she did in it, followed by a kriti from Narayana Theertha's ``Krishna Lila Tharangini'', Aalokaye Rukmini Kalyana Gopalam,'' a piece devoted to a description of Rukmini's wedding with Lord Krishna. Her earlier pieces were ``Buvinithasudane'' (Sriranjani-Tyagaraja) and ``Saraguna Palimpa'' (Kedaram - Ramanathapuram Srinivasa Iyengar). On the whole a sensitive performance marked by virtuosity. 

M. A. Krishnaswami made an impressive effect by his deft and delicate fingering and bowing, particularly in representing Kedaram, Bhairavi and Keeravani ragas and on swara phrasings. K. R. Ganesh on the mridangam and Mannargudi Raghavan on the kanjira worked on their instruments magnificently to provide the needed laya content to the concert. -TPR 

Inherent subtlety of ragas 

CHENNAI, Dec. 31. 

Indian Fine Arts Society's lecture-demonstration on `subtlety in certain ragas' by Ms. R. Vedavalli on Wednesday was the eleventh in the series which is on at the Bala Mandir German Hall in T.Nagar. 

Raga is a complex edifice of Indian classical music. Swaras are the building bricks. A note, for example, `Ga' or `Pa' is not exactly the same as the swara prayogam in a ragam rendered in Indian classical style, though we understand its identical frequency. These are some of the basic breathtaking nuances that are so essential in the understanding and usage of classical traditional music. No definition would unravel this principle ingredient of rules that it is so strongly interwoven with. 

It is this striking subtlety in ragas that was articulately brought out by Ms.R.Vedavalli. Only when the `bad' is exposed, we realise that the `good' is `not so good'. Ms.Vedavalli's exposition of small lapses and unforeseen slips by musicians during raga delineations in this non- traditional music world of today, was just the tip of the iceberg. The Pandora's box was opened with Ms.Vedavalli opining that `Shastriya Sangitam' offers a fully calibrated musical, devotional and emotional experience. `Swaroopa Jnanam', she said was what music rested on. 

The evolution of music, its arduous journey and the slow emergence of mindless innovation leading to a helpless state for puritans to even question certain brief flirtations that music is into today, is certainly an unhealthy trend, said Ms.Vedavalli when she flagged off with `Saralivarisai' and came to the `Uyir Nadi' of music, ``gamaka''. While explaining Mayamalavagowla she said `Ga' and `Ma' have to be retained as flat notes. 

The foundation and pillars (Saralivarisai in several ragams, Janttivarisai, varnams etc) that were laid and the insistence on highlighting and underplaying of specific swarams in a ragam was what elders adhered to for simple, pure and traditionally rich music, said Ms. Vedavalli. 

The two aspects of subtlety are - ragas with specific gamakas, and the shape of ragas determined by specific prayogams. While madhyamam is the only difference in Shankarabharanam and Kalyani, Gandharam is a flat note in Shankarabharanam which can easily reach Shuddha Madhyamam, while the Gandharam in Kalyani needs to be mixed with Rishabham which will automatically touch Prati Madhyamam.Going on to Poorvi Kalyani and antuvarali she said, we could hold on to Gandharam in Poorvi Kalyani and there is no sancharam below nishadam in Pantuvarali. 

While speaking highly of Subbarama Dikshitar's contribution, the inspiring subtleties brought out with ease in Bhairavi, Kharaharapriya, Mukhari, and Manji were very interesting. The drift from Suddha Daivatam to Chatushruti Daivatam in Bhairavi, she said, was only for the last 200 years or so. Ms. Vedavalli's demonstration of Harikamboj and Khamas - the beautiful oscillation of Madhyamam in Khamas, and the importance of Rishabham with Madhyamam being just a stepping stone to reach panchamam in Harikamboj was a treat. 

While stressing the importance of varnams to understand the sancharams better, Ms.Vedavalli's ragaprayoga in Ananda Bhairavi and Reetigowla, Durbar and the soft Nayaki, the touch of Neelambari in Shankarabharanam, Begada and Kanada, Arabhi and Devagandhari and Madhyamavati and Sree was an ocean of information not only to students of music but for every musician who cared to delve into subtle nuances of sangeetha sagaram. 

Dignity personified

Indian Express Chennai, 12 Apr, K S Mahadevan 

R Vedavalli's vocal recital for Saraswathi Vaggeyakara Trust was packed with substance.  In this era of rampant virtuosity indulged in by old and young, this intrepid artiste prefers straightforward raga portraits, time-honoured padantaras in kritis and even in kalpana swaras and a streamlined simplicity. 

It is the mark of a great artiste to usher in the right mood in a concert as soon as possible.  Vedavalli's start with the imperial "Enthara" kriti of Tyagaraja in Harikambodhi was timely.  The listeners feel so comfortable with it.  "Seethamma mayamma" was a lyrical rendering, paving the way for a sketch of Dhanyasi that suavely and elegantly wooed the audience.  Syama Sastry's "Meena lochana" in Triputa tala also had its regal charm. 

Purvikalyani raga was totally classical.  The series of unbroken sancharas around melshadja reminded one of Mudicondan's inimitable explorations.  "Ekambranatham" is one of Dikhshitar's monumental kritis, which needs seriousness and involvement and was just fine with Vedavalli.  Her neraval - a class in itself on the line "Omkara rupam sivam" seemed, as if born from a fine count spinning loom.  The swaras too were well proportioned.  Her training and reverence for tradition enables her to steer clear of licentiousness of any sort. 

Violinist M A Krishnaswami held his end up gallantly.  His raga portrayals would have been more sumptuous on the mandara string, as the sonorous notes would have added a fresh dimension.  Ganesh's mridangam was efficient. 

Audience reactions - Nadopasana concert in Sastri Hall, 3.4.19998 

Dr. Vijay, a member of the faculty at the Institute of Mathematical Sciences says "I thoroughly enjoyed the concert. although I cannot specifically say what appeals to me so much in her music.  I try not to miss any of her concerts".  He is a keen rasika, and likes to attend concerts whenever he can. 

Mr. Adam Clarke, who arrived in Chennai only three weeks ago, fascinated by Carnatic Music which he describes as "the ultimate blend of the emotional and the intellectual elements".  He likes the variety in rhythmic patterns, and the subtle variations in notes that are made into a world of difference when performed.  To  RV's music he had to "listen keenly with utmost attention".  This was the second concert of hers he attended, and could appreciate it better than the first as he is probably more tuned in now. 
 

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