Conceived by the distinguished violinist A. Kanyakumari and featured as part of Madrasana's December festival, Tristayi, showcased three violinists performing in three sthayis (octaves). Vidushi Kanyakumari anchored the base sruti; Embar Kannan played in the octave above her, and Sayee Rakshit to the octave below. Tristayi introduced a novel dimension and presented an expertly orchestrated and delightful auditory experience.

The concert started with Panchamatanga in Malahari, and Kanyakumari liberally used phrases from Sree Gananata, the geetam to showcase the raga alapana. Sadinchane, the Arabhi pancharatna of Tyagaraja, provided the necessary heft in terms of the pace and the synchronisation of the three violins. A stately Mallari, in Gambheeranata, composed by Kanyakumari in trikalam, was played in three octaves. The alternate patterns by Kanyakumari and Kannan in the raga alapana were a pleasure to listen to, with Kannan giving the finishing touches of the raga in the upper octave with a sliver of shadow by Rakhsit in the lower octave.

After a lilting rendition of Ganamoorte, Kanyakumari played Niroshta, a raga without panchama. She elaborated in the middle ranges, shadowed by Kannan in the upper notes. Muthiah Bhagavatar's composition, Raja Raja Radhite captivated the audience with its exquisite blend of melody and rhythm, creating a delightful philharmonic ambience. Following this, a serene performance in Bhairavi raga unfolded, gracefully oscillating between Kanyakumari and Rakshit in the middle and lower octaves. Kannan skillfully explored the higher octaves and navigated the intricacies of the raga, showcasing remarkable expertise. Bhairavi, predominantly situated in the middle and lower ranges, requires careful execution to avoid any strident or harsh tones, and Kannan handled this with finesse. Syama Sastry’s Kamakshi swarajati was the chosen kriti.

Swararagalaya, which followed, infused a brisk momentum into Chenchukamboji, employing a rapid-paced style. Brindavana Saranga was the raga for ragam-tanam-pallavi, in Adi tala with ragamalika swaras in Natakurinji, Valaj, Mohanam, Revati, alternating in kaal and arai avartana leading back to Brindavana Saranga. Murlaidhara Gopala in Tilang provided a soothing effect after the electrifying tani avartanam by Patri Sathishkumar (mridangam) and Anirudh Athreya (khanjira)

The concert concluded with a tri-raga tillana by Kanyakumari in Kannada, Vasanti and Sivashakti set to Adi tala, the sahitya being Madura Meenakshi Kanchi Kamakshi Kasi Visalakshi krupajoodave, karunimpave, Sivasakti swaroopini, bringing in the name of the raga.

Percussion led by Patri Satishkumar on the mridangam and Anirudh Athreya on the khanjira were all on their fingertips, with zero slack. Patri can energise the stage with his brilliance and serves as the perfect complement for a venture of this nature, and Anirudh demonstrated no less.

Onstage, Kanyakumari personifies joy, radiating confidence while actively connecting with the audience. She seamlessly embodies an approachable and supportive mentor for her students, avoiding any sense of intimidation or a need to assert dominance. Despite the presence of three violinists—a legend, a seasoned expert, and an upcoming artist—they performed as equals, displaying impeccable synchronisation and camaraderie. The auditorium at the Asian College of Journalism served as an ideal stage, ensuring high-quality audio output.

by 

Sivapriya Krishnan

pc: Madrasana