Experimental concert by Kumaresh and Ganesh

The world famous violin duo Kumaresh and Ganesh, treaded on a path that was never attempted in a traditional music concert, while they were presenting, Kumaresh explained the intricacies and details creating ‘Anurakthi’ (acute interest) to the audience

Music connoisseurs witnessed a marvel and a experimental concert, with world famous violin wizards Kumaresh and Ganesh laying a new path to savour instrumental music. The duo’s enticing violin play enthralled the audience on the day three of South Indian Cultural Association’s 56th Annual Art Festival held at Ravindra Bharathi.

Ganesh and Kumaresh started learning violin very early. Trained by their father TS Rajagopalan and supervised by their mother Bhanumathy, the duo completed 100 stage performances. The ‘A’ grade radio artistes has won many awards and out of them ‘Kalaimamani’, ‘Sunada Siromani’ are worth mentioning.

Prior to the concert the duo appealed to the audience that they will deviate from the usual kutchery format and intend to give a new experience. Kumaresh narrated the details while the duo were presenting. “The seeker of music, first hears, enjoys and then develops the knowledge of ragas and krithis in tune with the instrumental presentation, that’s how Anurakthi (acute interest) develops in the seeker,” explained the duo.

They opened their concert with “Pancha Ghana Ragamalika”, in ragas Nata, Goula, Araabhi, Varali and Sri, showing swara madhuryam. Then they moved on to “Hamsadhwani” raga, here their bow technic was superb while moving from lower to higher octaves with an ease. It was ‘Raga Rasa Pravaham’ in Thisra nada. The speed they displayed on violin keeping laya/thala intact was amazing.

The duo then switched to Mayamalavagoula raga. The elaborate ragaalapana, a trademark of the brothers and it showed their mettle. This was followed by a Madhyamakala krithi of Thyagaraja, “Dwaitamu Sukhama Adwaitamu Sukhama” (Reethigoula). It is natural to present the krithi emotively as the lyric is rich in vedic philosophy and the duo weren’t different, apart from presenting it emotively they gave lucid swarakalpana.

The master piece of the day was RTP (Ragam-Thana-Pallavi) in Simhendramadhyamam raga. The Pallavi, “Sikharaya Sangeetha Seyaaya Swara Mangalaaya” was suggested by audience and it was played by Kumaresh and Ganesh in all its perfection moving on to ragamalika swaras like Kedaragoula, Abheri and others. Instrumental support by Anantha R Krishnan (mridangam), and Trichi Krishna (Ghatam) was a treat to watch.

Experiments and innovations are needed and are welcome too. But showcasing individual expertise gives a limited benefit. It is the solemn music that keeps the soul in peace that is the secret of Carnatic music.