In his concert spanning a good 140 minutes, K.N. Renganatha Sharma sang just six compositions in as many ragas. This implied refraining from flamboyance, which is a defining feature of his aesthetics. All the same, the package was not overly sober; it sought to delight non-purists too. In fact if melodies connote certain colours, his kutcheri was extensively defined by bright passages and lusty moments.
Essentially a follower of the Semmangudi style, Renganatha’s choice of kritis revealed a special preference for Swathi Tirunal — the 19th-century maharaja, whose contributions found resurgence through Semmangudi Srinivasa Iyer. Half the items were of the Travancore ruler, though that wouldn’t include the main suite of 80 minutes.
Shertalai Renganatha Sharma’s concert at Sri Parthasarthy Swamy Sabha ‘s annual music festival, in December 2023. The accompanists are L. Ramakrishnan (violin), Mannargudi Easwaran (mridangam) and Vaikom Gopalakrishnan (ghatam). | Photo Credit: RAGHUNATHAN SR
Kalyani was the pivotal raga. Patnam Subramanya Iyer’s ‘Nijadasa varada’ was the composition. Set to medium tempo, the lines anyway open to upper notes. They went on to resonate with frills, highlighting the vibrancy of the 65th parent scale in Carnatic. Renganatha stuck to the classical path, delivering the lyrics with brigas and gamakas that bore musical clarity. The energy enthused percussionists Mannargudi Easwaran (mridangam) as well as Vaikom Gopalakrishnan (ghatam), not to speak of violinist L. Ramakrishnan. The beauty of the string instrument became all the more prominent in the niraval around ‘Bhujagadhipa shayana’ along the anupallavi. Equally lively was the swaraprastara. Timely entry into its speedier portions wound up after repeated flourishes around the crucial ‘ni’. The adi-tala tani avartanam already guaranteed quality experience, going by the duo’s skills as accompanists.
Shertalai Renganatha Sharmaperforming at the annual music festival of Sri Parthasarthy Swamy Sabha in December 2023. | Photo Credit: RAGHUNATHAN SR
Earlier, Renganatha’s 12-minute alapana carried its share of leisure before Kalyani bloomed fully. Midway, a grahabhedam seemed in the offing, but no such distraction occurred. Ramakrishnan toed the vocalist’s sonorous line, sounding fresh in his solo response.
That the violinist enjoyed immense trust from the principal artiste was clear. After opening in Sourashtra (Ponniah Pillai’s ‘Ranganathude’), Renganatha went ahead with an even sprightlier ‘Pahi sripate’. The Swati composition was preceded by an alapana, which, however brief, saw the vocalist inviting Ramakrishnan to take cue. Together, they made prudent use of Hamsadhwani’s capacity to rev up with a swara rally of crisp passages.
In contrast, next, Sahana arrived, putting a check on the momentum. The raga rolled out with its pleasing languor and embellishing sways. Both Renganatha and Ramakrishnan delivered neat alapana. As the charming unevenness of chappu tala added to the raga’s graceful gait, ‘Chitham irangadadenaiya’ flowed unhurriedly. The solfa sequences brought out the affectionate throbs of Sahana more than the alapana did, capping up the Papanasam Sivan kriti well. Tyagaraja’s ‘Vararagalaya’ worked as the pre-centrepiece filler, though at least twice Renganatha had to decelerate to keep the Chenchukamboji quickie under control.
After the 20-minute tani avartanam were two Swati ditties: ‘Bhajat murali’ in Hindustani-flavoured Patdeep and the concluding ‘Aliveni’ padam in Chenchurutti.
