Excellent fingering technique is a foregone conclusion in the violin concerts of Dr M Narmadha, the seasoned soloist of Parur clan, whose concerts are always characterised by richly flowing sancharas and designs, articulating the ‘Sampradaya touch’ with an accent on pivotal precession Hindustani mode.When she opened her brisk solo violin concert for Bharatiya Vidya Bhavan with a varnam in Saveri (Sarasuda) of Venkatrama Iyer, it was evident that her music would be propelled from within, by an irresistible creative impulse. There was an elaborate survey of raga Pantuvarali, that followed (Siva - Siva), dotted as it was with purposeful prayogas, in the appurtenant Kalapramanas.After a short dwell in raga Kamas (Idathu Padam) of Papanasam Sivan, she ventured into raga Karaharapriya (Pakkala Nilapadi) of Thyagaraja. It was here that the lyrical expressions and the Kalpana Swaras in Duridha Kalam and the final Korvai were most absorbing, particularly when she exhibited the rhythmic Thanam, the Parur specialty.Her melodic phrasings in (Vellai Thamarai) in raga Bhimplas of Bharathiyar, reminding us of Madurai Mani Iyer and (Thamarai Pootha Thadagamadi) Sudhdhananda Bharathi in Hindustani Devakanthari, reminding us of M M Dhandapani Desikar were punctilious.On the whole, the concert was appealing to the ennobling mind, to ingratiate the all pervasive Nadopasana. B Sivaraman (Mridangam) and Pudukottai Ramachandran (Ghatam) were good.
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