Artist Profile -:- Vidhushi Kumari Shreya Devnath -:- Carnatic Classical Violin Artist !!!

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Dec 26, 2013, 11:39:43 AM12/26/13

Vidhushi Kumari Sherya Devnath

Bowing to the strains of music

Phone: +919381066612

Email: d...@eurocontiles.co.in / lakshmi...@gmail.com

ABOUT the ARTIST in BRIEF

Vidhushi Kum. Shreya the Chennai based 22 year old carnatic violinist and one of the youngest performing direct disciples of the late violin maestro Padma Bhushan Shri Lalgudi Jayaraman . A consistent class topper, Shreya has chosen carnatic music over IIT . She has been performing for the last four years in all leading sabhas in Chennai and other cities . After topping her class in the Bachelor’s degree in Economics in April 2011 at Stella Maris, she decided to take off for a year to fully concentrate on her music . She has joined in the Masters program in Economics in Chennai last year .

Shreya’s tremendous musical efforts thus far , apart from having one of the best Gurus in this field and his full blessings , have been considerably helped by her mother Lakshmi , a graduate in carnatic music and a writer on our culture and music , basically for children. Her close and regular interactions with Shreya have certainly had its good effects , both at the macro and micro levels . Incidentally , Lakshmi’s writing can be accessed on her website www:lakshmidevnath.com . Her recent work is a series on the lives of Carnatic Music greats in pictorial format, primarily for the youngsters and also for other age groups as well . Lakshmi’s biography on Shri Lalgudi Jayaraman , “ An Incurable Romantic “ , published by Harper Collins recently , was sold out and went in for a reprint even before the book was officially launched .

Shreya had the good fortune to perform for the last 4 years at all the leading sabhas in Chennai , Mumbai , Coimbatore , Mysore , Hyderabad , Kakinada and other cities in India , as well as SIFAS in Singapore. Needless to say , it is Shreya’s ardent desire to perform her violin solo at the important sabhas in Bangalore. As you may be well aware , the Lalgudi baani is much loved by the connoisseurs and layman alike and Shreya has had the good fortune of learning directly under Shri Lalgudi Jayaraman Sir himself till recently and presently continues under Lalgudi GJR Krishnan . Her music has garnered very good reviews thus far as evidenced from her artist profile.

PERFORMANCE PROFILE

Awarded “Ministry of Culture Scholarship for Young Artistes” by Govt of India(April’13)
Honoured as an “Outstanding Woman Achiever” by Indian Overseas Bank for International Womens Day (March ’13)
Awarded “Tmt. Vijayalakshmi Subramanian Medal” for Proficiency in Indian Classical Music by Ethiraj College (March ’13)
Awarded “K S Mahadevan Endowment Award” by Narada Gana Sabha for the Margazhi season (Dec ’12)
Awarded “Best Junior Violinist” award (instituted by Dr M Narmada in memory of her father Dr M.S Gopalakrishnan) by Sri Thyaga Brahma Gana Sabha for the Margazhi season (Dec ’12)
Awarded “Mumbai Nathan’s Endowment Prize” by Sri Krishna Gana Sabha for meritorious performance in their Gokulashtami Festival (Aug ’12)
Won 1st prize (classical instrumental category) in the competition organized by RASA and a performance opportunity in their youth festival (Aug ‘12)
Won 1st prize in Maithri - Classical Music Competition conducted by Ethiraj College (Aug ’12)
Awarded “Yuva Shakthi Youth Achiever Award 2012” by Yuva Shakthi (jan ’12)
Awarded the title “Yuva Kala Bharathi” by Bharat Kalachar (Nov ‘11)
Selected to perform violin solo in SIFAS, Singapore as a candidate of Kartik Fine Arts (March ’13)
Performed violin solos in Secunderabad, Mumbai (Sri Shanmukhananda Sabha, Fine Arts Society, Chembur, among others) Kakinada and Pithapuram (Andhra Pradesh), Coimbatore, Mysore, Madurai, Trichy and various other venues across India and won very positive reviews (enclosed)
Performed in the IIT Madras YouthFest (Jan ’13)
Won 2nd place in the National AIR Competition and was made a graded artiste
Accompanied for 2 consecutive years by Sri Vellore Ramabhadran at Sri Krishna Gana Sabha on 26/1/11 and 20/12/09
Performed for the staff and students at Bharatiya Vidya Bhavan, London (May ’09)
Violin Arangetram at Sri Krishna Gana Sabha on 30th September 2007 in the presence of Guru Sri Lalgudi.
The debut performance was awarded Jayammal Madhavachari Endowment Award by Sri Krishna Gana Sabha.
Concert at ISAI VELVI 2008, a state-wide competition conducted by International Society for Laya Awareness was adjudged as one of the top six performances. Was awarded a concert opportunity in the December season at Asthika Samajam premises (August 2008)
Rolling shield for creative excellence (music) awarded by the PSBB group of schools for the year 2006-07
First prize in the annual music competition conducted by International Society for Laya Awareness (2006)
V.R Gopala Iyer Memorial Cash Prize for the most talented student in Violin (2004)
Bharat Kalachar Scholarship for instrumental music won for three successive terms (1999-07)PERFORNANCE PROFILE

LIST of OTHER AWARDS

Academics

“Rolling Cup for Outstanding Student of the College” (2012-13, Ethiraj College)
“Justice S Natrajan Golden Jubilee Prize for Outstanding Student” (2012-13, Ethiraj College)
Topper of MA Economics and MA Business Economics in Ethiraj College (2012-13)
Completed B A Economics, graduated first class with distinction, from University of Madras (2011)
Won various prizes, including all-round excellence and subject proficiencies, for outstanding performance (Aggregate 96.3%) in the Std 12 CBSE Board Examination (2007)
Won at the Inter School Essay Competition, conducted by Vidyateertha Foundation (2005)
Won certificates of Distinction in Math and Science in the exam conducted by University of New South Wales (2004)
Certificate of Appreciation for Oratorical Skills displayed in the Inaugural Function of the Rajiv Gandhi Memorial, Sriperumbudur (2003)
Gold medalist at the international level in the English Exam conducted by The University of New South Wales, Australia (2002)
AL Mudaliar merit Scholarship 2002
Merit Certificate for outstanding performance in Academics from 2001 till end of schooling in 2008

Creative Writing

Editor of Pictures of Melody Series – The World’s first Graphic Biographies on Classical Music Legends (since 2010)
Received the R. K. Narayan Award for Creative Talent (2006)
Received a special certificate of appreciation from Commonwealth essay Competition Committee for essay submitted in 2005
All India 2nd Runner Up in the Classmate Young Author Contest (conducted by ITC) from more than 1,20,000 students (2005). Story published by Rupa & Co

EXCERPTS of REVIEWS

“A graceful and racy rendition...with unremitting practice, Shreya Devnath seems to have inherited the style and rendition of her mentor violin maestro Lalgudi Jayaraman, with good grip over technical aspects. Her skill in handling the kritis with a clean perception of the musical mood was evident. The performance was certainly illustrative of her skill to dwell expressively on the featureness of emotive aspects (as well as) highlighting the rhythmic complexities. In the Ragam Tanam Pallavi, where Shanmugapriya was explored in all three octaves...what was exhilarating was the precise execution of Anulomam, Pratilomam and the kalpanaswaras which had an abiding effect on the listeners.

Review by Sri Narayana Vishwanath in the The New Indian Express dated Dec 29, ‘12

“Played with Effortless Ease...Shreya Devnath’s pleasant rendition exuded liveliness and maturity. Her fingers effortlessly translated her imagination during the delineation of Sankarabharanam. Enthralling Thodi...Shreya welcomed Thodi with intoxicating Gamaka laden swara phrases and presented ‘Thaaye Yashodha’ as a tribute to Madurai Mani Iyer. This immortal kriti by Oothukkadu Venkatakavi gave her excellent opportunities to exhibit her skill in portraying emotions.

Review by Smt B Ramadevi in The Hindu (Friday Review – Coimbatore edition) dated Nov 2, ’12

“The Kruti Saareya saareya in Kharaharapriya was taken for detailing. The Alapana, Neraval and Swara Prasthara all had the shades of Lalgudi. The day being Thursday, her rendering contained the Muthuswami Dikshitar Kruti, Bruhaspate, one of the Navagraha krutis dedicated to the planet Guru. Interestingly, being the third day of Navaratri, she rendered one more Kruti Sri Kamalambikaya, which is the third Navavarana Kruti of Muthuswami Dikshitar. Such minor things reflect abundantly, on the ability of the musician, to rise to the occasion...I would like to hear her concert once again...the young girl has very good potential, the rendering of whom resonates Lalgudi Bani.”

Review by Sri Krishnamurthy in the Star of Mysore dated Oct 19, ‘12

“Well-chosen songs and a relaxed pace were the highlights of Shreya’s violin concert. Shreya Devnath’s solo violin concert proved that she has the skill and the potential. At a time when many artists of the younger generation (even rasikas) think speed thrills, it was surprising to note that she chose to present the raga alapana in (ati) vilamba kalam with long, drawn out phrases. The characteristics of both Vasantha and Mohanam were showcased in abundance in the aesthetically structured rendering...Tyagaraja’s ‘Mohana Rama’ was played beautifully and the first and second speed swaras were well structured and contained all the beauty that can be brought out in the violin. An emotional ‘Jagadodarana’ a Dasar Nama in Karnataka Kapi was preceded by an out of the world sketch of the raga in just a few seconds.”

Review by Smt Uma Krishnaswamy in The Hindu dated Jan 13, ‘12

“Bearing the stamp of Lalgudi school...Sowkhyam coupled with deft and in-depth handling of ragas marked the concert of Shreya Devnath...Flagging off her session with a Lalgudi Varnam in Garudadhwani bringing out the refreshing aspects of the raga, then following it up with Papanasam Sivan’s composition, ‘Gowri Manohara’ in Gowrimanohari with a rich tapestry of kalpanaswaras was aesthetic...The highlight of the concert was the RTP in Shanmukhapriya (khanda jati triputa)...the raga was given an elaborate treatment touching the nuances of harmony. ‘Brocheva’ (Khamas) and ‘Nadaloludai’ (Kalyanavasantam) were rendered in all their grandeur.”

Review by Sri T K Ganapathy in The Hindu (Coimbatore, Madurai editions) dated Jan 13, ‘12

“A scintillating performance. Shreya Devnath...disciple of Lalgudi Jayaraman who performed at Bharat Kalachar recently, impressed both audiences and exponents. It is not merely the knowledge of the theory of music nor long and arduous training and practise with manodharma that sustains an individual in the music arena. There is something beyond this, an exceptional feeling for music that places an individual in the top slot. This came to my mind after hearing violinist Shreya Devnath....Vivacious music of classical tempo, was large in her violin recital...opening with a varnam...she moved onto raga Bilahari (Paridhanamichite) of Patnam Subramania Iyer, when she gave free rein to her artistic instincts with an unwavering kalapramanam to back her. She rendered the raga Shanmugapriya, delineating the kriti (Kumara Guruguham) of Lalgudi, revealing the confluence of good training and her own inner coiled spring of latent ability...But it was in the raga Karaharapriya alapana that her imagination rose to a peak, particularly the distinctive enunciation of the swara passages in the vibrant creation of Thyagaraja, Samanamevaru, with sweet and resonance sound reflecting her explorative instincts. Certainly her presentation with brisk and lively approach, along with her knack of imparting tonal colour, indeed proved her tutelage. “

Review by Sri Narayana Vishwanath in The New Indian Express dated Nov 30, ’11

“Shreya Devnath of Chennai gave an exciting performance in Saraswati Gana Sabha during the Navratri Festival...Seethamma Mayamma is popular and melodious and on Shreya’s violin, it transported the audience to another world, it thrilled, excited and soothed in turn...It is a tremendous showpiece, given the fabulous microtonal fiddle playing...and ought to bring the house down anywhere...Shreya’s concerts conform to the highest standards, note and tone are perfect...Shreya’s concert balanced melodic exposition with multi-noted cascades within the context of a sinuous elegance that made her improvisation seem exceptionally coherent. She then sang Gandhiji’s favourite prayer Raghupati Raghava Rajaram as the finale to the concert. The vocal rendition was delightful surprise to the audience and organisers.”

Review by Sri BVS Bhaskar in The Hindu (Visakhapatnam Edition) dated Oct 14, ‘11

“In Lalgudi’s footsteps...The hallmark of Lalgudi’s school of music is disciplined approach to music and Shreya Devnath proved a worthy disciple in her violin solo concert...The erect posture indicated poise and Shreya showed vishranti that belied her age...It had the Lalgudi stamp throughout...Sri Jakandara saw her weaving kalpanaswaras with ease...It was heartening when the youngster took up Dhanyasi next for detailing. The attempt was praiseworthy...Sankarabharanam, the evening’s main, was built slowly and steadily. The kalpanaswaras at Veda Sastra in Enduku Peddala had all the ingredients of Lalgudi’s style...Perfection was the bedrock of this well-rehearsed concert.”

Review by Sri V Balasubramanian in The Hindu dated Sept 16, ‘11

“Voice of the violin...Shreya Devnath’s concert showed her devotion to her guru...Shreya Devnath of Chennai held the audience spellbound with her violin recital at Sri Venugopala Swamy temple...during the Thyagaraja Aradhanotsavam organised by Sri Sangameswara Sangeetha Samakhya...The audience which included veteran musician Peddada Surya Kumari, enjoyed the concert and gave a big around of applause at the end of every item...There was pin drop silence in the auditorium when she was reciting the kriti Ninne nammitinayya...After enthralling the audience for about three hours, Shreya concluded her concert with a thillana.”

Review by Sri K.N. Murali Sankar for The Hindu (Hyderabad edition) dated Feb 4, ’11

“Her violin sings...Shreya Devnath exuded warmth and confidence...Her repertoire was soaked in devotion and she presented them with total involvement...Shreya’s delineation of Kalyani was leisurely and authentic...Her fertile imagination and grasp over layam were brought to the fore during the swaraprastaras... The composer’s wonder and admiration at Yashoda’s good fortune were brought out beautifully in the innumerable ways in which the lines ‘Ammaa Endrazhaikka’ were played for the kriti ‘Enna Thavam Seithanai’.”

Review by Smt B Rama Devi for The Hindu (Coimbatore edition) dated Nov 19, ’10

“Showcase of Lalgudi Bani...Shreya Devnath highlighted the lyrical beauty of the kritis...After a swift ‘Entani Vina’ in Urmika with several cycles of captivating swaras, Shreya touched upon the emotive alapana of Charukesi. The raga’s subtle pathos and wonderful melody were evident in her presentation, which was sans artificiality...The raga of the evening was Mohanam. Shreya revealed its beautiful features—soft, slow, fast and flexible with proper punctuation at the right places adding extra charm and depth to the alapana. Tyagaraja’s ‘Nannu Palimpa’ took the audience on an endearing trip with engaging swaras. Shreya’s swaras and raga treatises bore the Lalgudi school stamp...’Nadaloludai’ in Kalyanavasantham, ‘Unnai Thuthikka’ in Kuntalavarali, ‘Sollavallayo Kiliye’ in ragamalika and a Vaasanthi Thillana were the other inclusions of Shreya’s remarkable violin solo concert.”

Review by Sri G Swaminathan for The Hindu dated Dec 14, ’10

“There were no rough edges in the presentation...Shreya Devnath’s violin solo was testimony ot the meticulous learning she had undergone...it is necessary to reproduce kritis and sangatis without rough edges and to know how to maintain the tempo in a concert tempo in a concert format. These were siginificantly admirable in Shreya’s presentation...Her expositions of a minor sketch of Anandabhairavi and the main Simhendramadhyamam reiterated that she had comprehended the musical forms of these ragas in the proper perspective and was equipped to present o the violin without blemish.”

Review by Sri G Swaminathan for The Hindu dated Jan 1, ‘10

“She was classy. She sported that unmistakable Lalgudi brand. Young Shreya Devnath showed lot of promise...Anandabhairavi was exquisite and she did full justice to the Syama Sastri kriti “Marivera Gati”. The Lalgudi style was out clearly and quickly. She did well to vocalize the violin.”

Review by Smt Sudha Jagannathan in Carnatic Durbar.com in Dec ‘09

“Her swaras for Brova Barama (Bahudhari – Tyagaraja) showed sharp reflexes as she presented all kinds of variations with a streaming continuity that gave the impression that one was listening to a violin duet. The alapanas for Charukesi (Matal Adamodi – Tyagaraja) and Kharaharapriya (Rama Nee Samanamevaru – Tyagaraja) had long drawn-out phrases which she probably relishes the most and the swaras were flawless.”

Review by Sri Sivakumar in The Hindu dated 30th Jan ‘09

“Shreya Devnath's concert showcased her command over her instrument… In the two vital aspects of bowing and fingering essential for a violinist, she revealed flexible technique to translate her need into a song or a raga. In her cautious raga essays of Kiravani and Madhyamavathi, she showed that she had been well-trained to touch the salient morchanas to bring out their swaroopas. In the rendering of songs, patantara was high in scale to give them pleasing presentation. The raga sancharas… diligently eschewed obesity.”

Review by Sri SVK in The Hindu dated 17th Oct ‘08

“A new addition to the Lalgudi Violin Bhani is Shreya Devnath, whose solo recital at the well-attended Krishna Gana Sabha Gokulashtami series was discipline and patantara suddham to the fingertips. The heightened resonance of the kirtanas was a happy blending of musical instincts and intensity of practice. Bowing and fingering felicity moved in harmonious coordination...There was fullness of appeal in the rendition of kirtanas and unfolding of the ragas, based on a fine balance of gana and naya… The patantara was impeccable and interpretation precise. The Lalgudi culture formed the fabric of her kutcheri. Atana and Simhendramadhyamam were taken up for raga elaboration. The exposition moved in the direction of the moorchanas of ragas composed with poised restraint. The raga lines were carefully guided. In swara exercise she displayed well-controlled gentle rhythm.”

Review of Debut Concert by Sri SVK in The Hindu dated 12th Oct ‘07