The mandolin couple U. P. Raju and Nagamani Raju presented two concerts at two different sabhas of Mumbai. One was for Bhakta Rasika Ranjani Sabha (BRRS) at Anushaktinagar and the other for Powai Fine Arts at Nahar International School Auditorium, Chandivili.
It was a knowledgeable audience at BRRS and the artistes catered to them. Beginning with ‘Sarasijanabha’ in Khambodi, Kandajathi Ata talam, they moved to ‘Tatwamaria tarama’ in Ritigowla, Adi talam, composition of Papanasam Sivan incorporating a brisk kalpanaswara followed by a fast-paced ‘Anupama gunambudhi’ of Tyagaraja in Atana, Khandachapu.
A vivid Purvikalyani alapana preceded ‘Deva Deva Jagadeeswari.’ Next followed a Mallari in Gambira Nattai set to Kandajathi triputa talam in various speeds. Mallari (without lyrics) is played on the nagaswaram accompanying processions of deities, but it is also suitable for the mandolin. ‘Rajaraja’ in Niroshta in Adi tisra nadai, a composition of Harikesanallur Muthiah Bhagavatar that had chittaswarams was also played.
Papanasam Sivan’s ‘Sendhil andavan’ was melodic with elaborate raga, niraval in ‘Vela Vadi vela,’ kalpanaswaras followed by a brilliant thani by the percussionists.
RTP in Srothaswani with Pallavi on goddess Lakshmi was further embellished by ragamalika swaram interactions by the mandolin duo and brief percussion exchanges.
‘Chinnanchiru Kiliye’ by poet Bharati and ‘Raghupati Raghava’ celebrated the patriotic spirit.
Oothukadu’s ‘Alaipayude’ and Annamacharya’s ‘Brahmam Okate’ were the concluding and crowning pieces.
T. K. Sankaranarayanan of BRR Sabha, Anushaktinagar, said, “The concert had good manodharma, a little more gamaka would have been welcome. Percussion support was excellent. The thavil vidwan has perfected the art of accompanying stringed instruments.” He added, “Being busy performers it is heartening to learn that the couple impart training to nearly 60 students, carrying on the mandolin parampara to gen next.”
A different menu
The next day’s concert at Powai Fine Arts (PFA) had a cosmopolitan audience and the artistes planned a different menu to suit their palate. Introduction by Shanti Swaminathan of PFA was crisp and comprehensive.
The Abhogi varnam ‘Evvari bodhana’ set the tempo followed by ‘Mooladhara Moorthe’ in Hamsadhwani, embroidered with brisk and crisp kalpanaswaras. ‘Entharo Mahanu bhavulu’ conveyed the calmness of bhakti, despite the absence of lyrics.
‘Thaye Tripura Sundari’ in Suddhasaveri, composition of Periasami Thooran set to Kandachapu talam was rendered in quick pace with chittaswarams. In ‘Nadaloludai’ (Kalyanavasantam), there was a broad delineation of the raga.
Tyagaraja’s ‘Vasudevayani’ in Kalyani, Adi talam, the main piece, in which both artistes alternately expanded the raga, and it was embellished further by a brilliant thani from Triplicane Sekhar (special thavil) and Tiruchi Murali (ghatam).
The tail-end pieces, Purandaradasa’s ‘Venkatachala Nilayam,’ ‘Raghuvamsa Sudha’ in Kadanakuthuhalam, Lalgudi’s exotic tillana in Revati and the mangalam, ‘Bhagyada Lakshmi’ were prudently selected and had a pleasing impact.
The percussionists exhibited their creativity, control and perfect timing.
“In Powai we found a mixed audience...some just gettingintroduced to Carnatic music...so we included familiar, catchy and fast numbers. The audience was appreciative and we also performed some songs on request,” said Nagamani Raju.
