S. Sowmya, accompanied by Charulatha Ramanujan (violin), Neyveli R. Narayanan (mridanga) and B.N. Chandramouli (kanjira), presented a vocal concert recently as part of the Ammanni Iyengar Endowment Birth Centenary Celebration Programmes of the MES Kalavedi, Bangalore.
Beginning with “Sami Ni Todi”, the adi thala varna in Panthuvarali, and “Nadatanumanisham”, the Thyagaraja krithi in Chittaranjani, the performance progressed with an elaboration of Arabhi and “Juthamurare” in rupaka thala, embellished with a neraval and some kalpana swaras.
Deekshithar's “Kalavathi Kamalasanayuvathi” and Thyagaraja's “Okaparijudaga”, both set to ragas bearing the identical name Kalavathi, followed. While the artiste clarified that the raga of the first was a janya of Yagapriya, the scale of the second was derived from Chakravakam, and the succeeding raga of the concert, Valachi, was similar to Kalavathi in the Hindustani idiom.
A detailed raga alapana replete with deft touches and a variety of sancharas, and the Muthaiah Bhagavathar composition “Jalandhara Supeethasthe” completed an exercise that was erudite, entertaining and educative.
An unhurried and gamaka-laden “Brovavamma” in Manji prefaced the focal point of the evening, a raga thana pallavi in Manirang. The true calibre of the artiste was revealed in the plenitude, spontaneity and variety of sancharas in the alapana and in the deep and heavy thana that adhered strictly to the dictates of classicism and to the distinct identity of the raga, though an occasional hoarseness of voice was discernible.
The compact treatment of the pallavi beginning “Mamava Pattabhirama” set to adi thala and kalpana swaras were underscored by exceptional support from the accompanists.
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A duet by young violinists Rahul and Rohit, accompanied by A.S.N. Swamy (mridanga) and R. Ramesh (ghata) was part of the celebrations at the same venue.
The recital commenced with “Viriboni”, the ata thala varna in Bhairavi. A short sketch of Mohanakalyani preceded Muthaiah Bhagavathar's “Siddhivinayakam” in adi thala, supplemented with fluent kalpana swaras, and “Janani Ninnu Vina”, the Subbaraya Shastri composition in Reethigoula raga and misra chapu thala.
A brief delineation of Bindumalini, effectively illumining its unique appeal, was followed by Thyagaraja's “Entha Muddo” in adi thala. A complete contrast in mood was ushered in by a brisk rendering of “Marugelara” in Jayanthasri, another krithi of Thyagaraja.
Control over the medium
The main raga of the concert, Mohanam, was elaborated in leisurely fashion, drawing out its innate sweetness and highlighting each note in sequence. There were several sancharas around the mandra sthayi gandhara, panchama and so on, ascending gradually to the thara sthayi panchama.
Mysore Vasudevacharya's “Rara Rajeevalochana Rama” in adi thala was presented in an appropriate kalapramana, adorned with several rounds of kalpana swaras, accentuated by outstanding accompaniment from the percussionists and followed by a thani avarthana.
The concert drew to a close with “Nenarunchinanu” in Malavi, “Akhilandeswari” in Dwijavanthi, “Govardhanagiridhara” in Darbari Kanada, and the thillana in Purvi.
The lead artistes displayed exceptional control over their medium, an unerring sense of melody, considerable rhythmic expertise, and superb synchronisation. A greater emphasis on the gamaka-based nuances of ragas, and contouring of phrases, will no doubt enable them to scale greater heights.
