Where technique matched theory well

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  The Hindu

  Anahita and Apoorva Sisters at the 21st Fine Arts Festival organised by Mudhra in Chennai on December 22, 2015. Photo: M. Moorthy Music has to be a happy blend of science (sastra) and art. It should be learnt as a science and presented as art. That the Anahita-Apoorva duo has, at this young age, realised this precept was evident in their vibrant recital.
  The Kanada Ata tala varnam unfolded in Chathurasra and thisra patterns, revealing their control over laya and bhava. It was a fitting prelude to the music that followed.
  This aspect was further extended in the Thodi composition ‘Venugana Ramana’ of Oothukkadu in misra chapu. The thisra kuraippu in the swaraprasthara was an aesthetic and technical blend. Both shared the elaborate alapana. Anahita also demonstrated a few phrases sans ‘sa’ and ‘pa.’
  On the violin, B.V.Raghavendra Rao came out with a masterly elucidation. Here, Mudra must be lauded for arranging a full concert for its kutcheri competition winners and providing top accompanists a prime slot.
  The senior mridangam artist, Tiruvarur Vaidyanathan, was seen applauding their swara korvais. In the outstanding thani that followed, he and Sree Sunderkumar displayed their mastery through varieties in chathusra and thisra patterns.
  Although Thodi was in theory the piece de resistance, Mukhari lingered in my mind long after the concert was over. Anahita’s melodic elucidation and Raghavendra Rao’s tuneful response brought out the quintessence of this raga. They rendered a rare Dikshitar kriti, ‘Pahimam Ratnachala Nayaka’, on Ratnagireeswarar on the banks of Akhanda Cauvery near Kulithalai, Tiruchi.
  It is one of the three Sakthi Peetams. The hill is itself in the shape of Sree Chakram.
  Earlier, Apoorva rendered a pleasant Purvikalyani for Thyagaraja’s ‘Gnanamosagarada.’
  Another Thyagaraja composition they presented was ‘Vinave O Manasa’ in Vivardhani (rupakam).
  For Papanasam Sivan’s Hamsadhvani kriti ‘Mooladhara Murthi’, they rendered appealing kalpanaswaras at ‘Gaja Mukhane’ at second veechu in adi tala.
  The duo wound up their concert with Dharmapuri Subbarayar’s Kapi Jawali ‘Parulanna Mata’ and
  Arunagirinathar’s Thiruppugazh on Swamimalai in Jonpuri in a rare sandham of 28 aksharas. It was indeed a concert where melody merged with grammar.
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• Anahita and Apoorva Photo: M. Moorthy
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