Continuing the laudable tradition of including a melam ensemble in its morning concert series, the Music Academy featured Vyasarpadi G. Kothandaraman (nagaswaram) accompanied by Mannargudi M.R. Vasudevan and Kovilur K.G. Kalyanasundaram (thavil).
The unalloyed classicism of the Saveri varnam ‘Sarasooda’ (Kotthavasal Venkatrama Iyer) was an augury of the treat to come. ‘Sri Maha Ganapathe’ (Abhogi, N.S. Ramachandran), made iconic by MLV’S rendition, dripped melody, throwing up fascinating contrasts between laser-cut sangathis and anuswara-embedded kuzhaivus that mirrored vocalisation at its best.
Multiple variations
Perfectly complemented by the skills of his disciples, G. Vinod Kumar and M. Karthikeyan, the vidwan served up pithy kalpanaswaras, with the kuraippu at the tara sthayi shadja enlivened by multiple variations of ‘srgmd.’ ‘Paraloka Bhayamu’ (Mandari, Tyagaraja) interjected a brisk note. Treading gently, the artiste embarked on the Syama Sastri masterpiece ‘Kamakshi’ (Bhairavi swarajati). His superb handling of the composition’s meditative jarus and curves was a marvel of internalisation and breath control.
Compact veena-style clusters built up a solid Kedaragowla alapana firmly anchored at the panchama and the tara sthayi rishabha suites. If you missed the nagaswaram’s signature swirl of continuous chain-linked prayogas, the swing and sway of a masterfully rendered standalone ‘Saraguna Palimpa’ (Poochi Srinivasa Iyengar) more than made up for it.
Punch-laden prayogas of Thodi took centre stage as the piece-de-resistance. It was a Thodi of vistara and grandeur. Minute anuswara detailing, gamaka shuddha and time-honoured pidis all telescoped in undulating vistas of the tara sthayi rishabha-gandhara suite.
Momentum was sustained right down to the mandra sthayi shadja. ‘Chesinadella’ supported kalpanaswaras with kuraippu at the panchama that started off as sarvalaghu, with kanakkus and ati durita kala permutations surfacing later.
The tani avartanam, a stellar example of teamwork, had the two ace percussionists racing neck-to-neck, M.R. Vasudevan’s seasoned sollus offset by K.G. Kalyanasundaram’s youthful vigour and remarkable clarity. So seamless was their collaboration that you couldn’t pinpoint where one left off and the other took over. It wasn’t all vein-popping intensity either.
The display of controlled power included a subtle interlude of deliberately softened rhythms that announced ‘the thavil is capable of this too’. ‘Annapoorne’ (Sama, Muthuswami Dikshitar ) was the filler that preceded an RTP in Pantuvarali, the flavour of which pledged allegiance to the most enduring classical values.
Double gamakas, silken glides, emphasis on panchama and focus on nishadha completed the raga portrait. While the tanam was enriched by thavil accompaniment, the pallavi set to Misra Jhampa tala reached its close with anuloma, viloma and chatusra tisram.
Banking on his forte of a classic traditional palette distinguished by undiluted raga bhava, Kothandaraman focussed attention on that key component – the kriti. This aspect enhanced the value of manodharma elements.
