Date : 18.12.23

Venue : Naada Inbam

Artist : Ashwin Anand ( Veena Concert)

Mridangam : N C Bharadwaj

Khanjira : B S Purushottaman

By Sivapriya Krishnan

Ashwin Anand's veena resonates with a captivating melody. His rendition embodies an intricate gayaki style, emphasising the nuances of gamaka, melodic expressions, and lyrical content. Having undergone extensive training under Sangita Kalanidhi R. Vedavalli, he has acquired a vast repertoire and cultivated a style that immerses itself in the essence of each raga and kriti.

His execution revealed intricately woven patterns reminiscent of a fine mural—a distinctive hallmark of the school of music he belongs to. Notably, he demonstrated absolute fidelity to the style and approach imparted by his guru, showcasing a deep respect for tradition and a commitment to preserving its essence.

Starting with Vanajakshiro, Kalyani varnam in Adi, he played Pavanaatmajaa in Chala Nata, Bhuvinidasudane in Sreeranjani with a swara prastara. Kshitija Ramanam in Devagandhari had a perfect stately gait, followed by the beautiful Kedaragaula kriti, Venuganaloluni. In contrast to this mood, he launched into Kanakavela karuna in Sree. Nadopasana in Begada was replete with brilliant alapana, swara and niraval.  Ragam-tanam-pallavi in Simhendramadhyamam in khanda nadai, chatusra jati Triputa tala proved his niraval and tala control with imaginative swara passages. Finally, he concluded with Krishna Nee Begane baro in Yamuna Kalyani.

N.C. Bharadwaj and B.S. Purushottam are experienced percussionists who demonstrated the finesse and sensitivity essential for playing the veena.

The author is a Carnatic vocalist, writer and management professional