The trio U.P. Raju, U. Nagamani, and U. Jaya Vigneshwar brought out presented the myriad shades of the raga
U.P. Raju, U. Nagamani and son U. Jaya Vigneshwar presented a pleasing mandolin concert under the auspices of Madhuradhwani. While Nagamani received her training from guru and husband U.P. Raju, their son Jaya Vigneshwar is being trained by both parents.
The trio began with the Nattakurinji varnam ‘Chalamela jaesaevayya’ by Moolai Veedu Ranga Swamy nattuvanar, at three speeds. Even as the raga was introduced, one could notice the gamakas that were played out smoothly on this instrument that is predominantly used in Western music.
After propitiating Lord Ganesha with Harikesanallur Muthiah Bhagavatar’s ‘Gam ganapathae namo nama’ in Hamsadhwani, the artistes presented an elaborate alapana of raga Ranjani and followed it up with Tyagaraja’s ‘Durmarga charaadhamulanu’.
Sprightly rendition
Thodi unfolded in all its majesty as Raju, Nagamani and Jaya Vigneshwar took turns to reveal the beautiful layers of the raga. The kriti they chose was the lyrically rich ‘Ennaeramum oru kaalai thookki’ by Marimutha Pillai. Like Arunachala Kavirayar who asks Ranganatha in ‘Yaen palli kondeeraiyaa’, Marimutha also poses a question to Nataraja as to why he always lifts a leg. Then he proceeds to guess the reasons. Each guess leads to one of Shiva’s Thiruvilayadals (divine leelas). Marimutha Pillai wants to know whether his leg is paining because of the long walk to Daksha’s house to extinguish the sacrificial fire, or because he sprained his leg while kicking Yama when he (Yama) tried to take the life of Markandeya. Quite a few incidents like this are mentioned and one can’t help marvel at the blend of mythology and devotion. Added to that is the poetic skill of the composer. The three artistes did full justice to this delightful kriti and gave it a lively finish with a sprightly swara session.
The short pieces added colour and tempo to the concert. The artistes included Tyagaraja’s ‘Nenarunchinanu’ in Malavi, ‘Manasa sanchara re’ in Sama, ‘Maithreem bhajatha’ in dwiragamalika, and an Annamayya kriti. The trio concluded their concert with ‘Bhagyadalakshmi baramma’. S. Bala Shankar on the mridangam and Adambakkam Sankar on the ghatam lent excellent support.
The Mangaluru-based reviewer writes on classical music.
