A veena concert by Revathi Sadashivam, accompanied by B.S. Prashanth (mridanga), and S.N. Narayana Murthy (ghata), was hosted recently by MES Kalavedi, Bangalore.
The evening commenced with “Chalamela”, the Nattakurinji varna in adi thala. A mellifluous sketch of Hamsadhwani then led to “Vara Vallabha Ramana”, the GNB krithi set to adi thala, which was embellished with kalpana swaras interwoven with rhythmic patterns and incorporating a note by note progression upwards in the concluding segment. Muthuswami Deekshithar’s ‘Chandrashekharam’ in Margahindolam was next, a fine choice and a beautiful rendition that highlighted the evocative beauty of both raga and composition.
Purvikalyani was taken up for a compact, yet well-structured and measured alapana that covered all three octaves and was suffused with raga bhava. Neelakanta Sivan’s “Ananda Natam Aduvar” in rupaka thala was rendered in a sedate tempo in consonance with the grandeur of the piece, and suffixed with several rounds of kalpana swaras in the second speed. In direct contrast was the consummate presentation, at a leisurely pace, of Deekshithar’s ‘Ranganayakam’ in Nayaki raga and adi thala. Imbued with a sense of serenity, the item was notable for scrupulous adherence to the raga identity as prescribed by convention, reflected in the fine touches and the subtly nuanced usage of the nishada and gandhara.
A brisk ‘Vara Raga Laya’ in Chenchukamboji served as prelude to the main raga of the performance, Keeravani. Beginning with mellow phrases in the mandra sthayi, the comprehensive raga essay captured the compelling allure of the raga with a plethora of sancharas around each of the pivotal swaras such as the rishabha and panchama. A judicious mix of brighas and occasional plain notes was interspersed with the aesthetic deployment of the softly oscillating gandhara and nishada. The raga ensemble was reinforced with a tana, a coalescence of sweet spontaneity and commendable dexterity that drew out multiple shades of the scale. The unhurried exposition of the Thyagaraja composition ‘Kaligiyuntegada’ in adi thala was reinforced with a beautifully-crafted neraval and fluent kalpana swaras in two speeds and in the tishra gathi, culminating in diminishing tala cycles at the tara sthayi shadja, and leading to an absorbing, intricate and proportionate tani avarthana.
Exemplary percussion support, aided by good acoustics and proper balancing, augmented the overall impact of the concert, which on the whole testified to the lead artiste’s expertise and commitment to tradition and to the core classical tenets of the idiom.
