S. SIVAKUMAR

PHOTO: S.S. KUMAR

SPELLBINDING SESSION: The Madras String Quartet in action.

The blueprint seems to be ready. The two great independent worlds of music, Carnatic and Western, interacted intelligently and looked at music through a common lens, to gain a more holistic view. Recently, Western strings played Carnatic strains and the audience witnessed a ship steering a new course.

The captain of this musical journey, ‘Serene Serenades,' was violinist V. S. Narasimhan, with Hemantharaj Mulayil (second violin), B. J. Chandran (viola) and V. R. Sekar (cello) as string-partners. Together they comprise the Madras String Quartet.

Short and precise

Kritis of Tyagaraja, Dikshitar and Sivan played by Narasimhan, blended with the most felicitous chords on the strings of the others, sometimes extended, sometimes short and precise -- a graceful mix of staccato and legato. None of those embarrassing vacuums or deafening noise levels at any moment in the performance!

Arguably, songs that suited this faithful exercise in harmony were ‘Sara Sara Samarai' (Kuntalavarali), ‘Thelisi Rama Chinthanatho' (Poornachandrika), Lalgudi's Desh Tillana and the ‘Note-Swaram' (popularised by Madurai Mani Iyer). The last of these had its embellishing touches, courtesy Ramesh Vinayakam. Many clinching moments filled your heart. The gentle alapana (or alap) waves of Desh from the cello with its lovely octave-switches that rushed pleasurably to its culmination, the breath-taking beginning of the Tillana itself, the viola player's challenging Chakravakam alapana (‘Isaneyindha'), the faultless non-interfering support provided by the second violinist, the wide range of the cello demonstrated at appropriate points with exemplary sound-sense and the dance effect created for the note-swaram, to mention a few.

Narasimhan, an organiser par excellence, had made the concept refreshingly original. That this foursome chose to tread with utmost care was clearly evident in the kalapramanam they adhered to, while rendering the kritis, especially ‘Sri Subramanyaya Namasthe' (Khambodhi) and ‘Mokshamu Galadha' (Saramathi).

One had to see it to believe it! There was no rhythm accompanist and yet the avartanam endings were on the dot and the chittaswaram -- it has both quick-sequence swaras and karvai-swaras -- associated with ‘Thelisi Rama Chinthanatho' was perfectly rendered. Those steeped in Carnatic music, and others who hold this system very close to their hearts may view the attempt with scepticism. It may even sound heretical to them. But in due course, when this quartet gains credibility and spreads its appeal, the hardcore Carnatic music zealot will smile in appreciation.

Ramesh Vinayakam, the well-informed and experienced musician and anchor, made his

observations before each song, and explained its meaning and mood in brief. There could not have been a better choice to take you through the proceedings. He did justice by occupying just enough space that served to maintain the liveliness and continuity of the presentation.

This absorbing event was part of the Yagnaraman July Fest 2010, and was held at Krishna Gana Sabha.

(sivakumar2004@gmail.com)

Emceeing to enrich

Ramesh Vinayakam

Ramesh Vinayakam introduced the men-in-black -- the members of the string quartet -- and explained how the violin, the viola and the cello (pronounced chello) have distinguishing features that enrich music. Soon he turned professor.

“The base for Indian music is melody, whereas for Western music it is harmony”, he began, and quickly added that “melody is pregnant in harmony.”

The concept of harmony

Ramesh chose the familiar, rudimentary Bilahari Swarajati, ‘Rara Venu Gopa Bala,' and dwelt on how the concept of harmony came into being, as the players lavished it with pretty nuances.

The texture of the sound produced (thicker and thinner) when the sahitya was played on a single violin, then double, then with viola and finally with the cello was as revealing as it was instructive. Interestingly, octaves were varied and even included a no-octaves option among the instrumentalists; they played four registers, in unison, varied their pitch and thus went on to present a glimpse of the historical evolution of the term Harmony, its recognition and its defining dimensions.

Musical jargons -- arrangement, inversion, minor scale chords and more – were explained as and when each came up in the course of the demo. Special position was given to the cello in one particular segment and Ramesh also spoke on the colour of the notes which changed as they acquired some extra attributes. “Just visualise the grandeur that would be created when the same is played by some 80 or 100 players,” he said, before leading the audience to the “unusual event”