A two-and-a-half-hour recital by Saralaya Sisters, Kavitha and Triveni, in Thrissur proved how a soothing voice is intrinsic for melody. The duo struck a rapport with the audience by dwelling on the nuances of the ragas while presenting familiar compositions. They also observed the traditional designs of a kutcheri.
After the Chalanatta varnam of Balamuralikrishna, they switched to Brochevarevare , a popular Tyagaraja composition in Sreeranjini, Adi. The rendering of swaras in turn was alluring as it demonstrated how in a duet the musicians could successfully complement each other. Though short in the beginning, groups of swaras were showered profusely and extensively as they went on. Plurality of sangatis made Ksheera sagara sayana a remarkable one. Perfect alignment while singing in unison showcased their long association on the concert stage. The beauty of Devagandhari was revealed in the composition of Tyagaraja.
Latangi was treated in an elaborate manner by Kavitha. She brought out the elegance of the raga through a prolonged alapana. Their rendition of Marivere dikkevvaru, a kriti of Patnam Subramania Iyer in Khanta chapu evoked the mood of supplication. Niraval at Daridaapu ieni naa jaali terci was extensive and the plethora of swaras that followed was highly decorative.
Bhavayami Raghuramam , Swati’s number in ragamalika, Roopakam was sung in unison covering all the charanams. The landing towards the conclusion of the long composition was aesthetically executed. Dikshitar’s Govardhana gireesam in Hindolam seemed a prelude to the main raga Madhyamavathy. Triveni opened the essaying while Kavitha took up the later.
While Palakkad R. Swaminathan tried to reproduce the sancharas on the violin, the percussion duo, Bombay Ganesh on the mridangam and Vellattanjur Sreejith on the ghatam, contributed in no small measure to embellish the rendition both while accompanying the musicians and also during the tani.
Swati’s Aliveni enthu cheyvu in Kurinchi and Misra chapu was soothing, more so as it followed the vivid portrayal of the main raga. They wound up with Balamuralikrishna’s thillana in Brindavanasaranga.
R.K. Sreeramkumar
To be a substitute for a veteran like Neyveli Santanagopalan is a challenge to any musician. But R.K. Sreeramkumar who was expected to accompany the vocalist on the violin rose to the occasion in his absence. For two hours and a half, he bowed with élan accompanied by K.M.S. Mani on the mridangam and Kovai Suresh on the ghatam. A notable feature of the concert was the layam that was perceptible throughout, for which the percussion team contributed substantially.
Care for sahithya was discernible as he opened with Sarasiruhaasana priye , the composition of Puliyur Doraswami Ayyar in Natta and Adi. Inspiring was Sita pathe , Kamas and Adi of Tyagaraja thanks to the swaraprasthara. Soon followed the Anandabhairavi number Marivere of Syama Sastri in Misra Chap. He could effectively weave the raga with improvised chain of notes. Hiranmayeem , a Dikshitar composition in Lalita and Rupakam was played in a slow tempo. The Kapi had an ornate description for the Tyagaraja composition Intha soukhya in Adi.
A relatively fast Bahudhari served as a fitting contrast to the main raga to follow. The selection was the popular Brovabharama , also of Tyagaraja in Adi.
Sreeramkumar’s creative instincts were displayed as he essayed Thodi on an extensive scale. Karthikeya gamgeya of Papanasam Sivan was delectable for the disciplined accompaniment of the mridangam, ably supported by the ghatam.
The tani was brilliant for the variety of nadas. After a Behag composition in Adi, the musician wound up with Alarsara paritapam , the Swati composition in Suruti.
The two-day event, Swararagasudha 2017, was part of the anniversary celebrations of Sree Thyagabrahma Sangeetha Sabha.
