The leisurely and languorous expressions of Hindustani music invariably create comforting effects to the senses. Mala Ramadorai with her dulcet voice crafted an ambience of tranquil music that took the audience on a trip of serene feeling during her recent vocal performance at the Youth Hostel lawns for Hamasadhwani.
The audience attendance was thin but Ramadorai did not mind engaging the rasikas present with her genuine musical offerings with a slight slant on the style of a Carnatic music concert where lyrics are given greater predominance. Thus she almost explained the verses and how beautifully they conveyed the emotions, mostly devotion.
Mala's first choice was Purya Kalyan with a Bada Khayal in Vilambit Ek Taal ‘Bhaja Le Hari Naam' followed by ‘Jaag Manava' which was the Chota Khayal in Teen Taal both Dr. Atre's compositions.
The melody which carried semblance to Carnatic Purvikalyani was navigated with freewheeling expressions with the line ‘Bhajare Le Hari Naam.' After the launch as she progressed the ground became slightly shaky from which Mala recovered fast and moved on with more import.
The long winding extensions loaded with karvais and akaras initially on the sedate pace picked up full energy in the later part. Her voice touched the higher notes with ease enlightening the strong, subtle to deeply subtle nuances of Purya Kalyan.
The second raga was Kedar that had both melody and harmony. Here also to please the South Indian audience, Mala Ramadorai preferred to interpret the raga with a Kedar composition in Teen taal ‘Nand Nandana Kanha Re' and the Drut in ek taal was ‘Aa Rangeele Aa Ghar' a traditional number. Mala burnished the phrases with several sways, swirls and swings, thus stretching the raga. The multi-layers of Kedar raag unfolded with élan and a few strains of swaras were also added. The next one was in raag Binna Shadj ‘Kaare Aisee Preeth Lagaye' by Dr. Prabha Atre in Roopak Taal.
Delicate akaras
Here too the presentation was adorned with embellishments of delicate and delicious akaras and a few rounds of swaras. The compositions taken up after these were more on the lines of tukkadas.
‘Hori Khelan Ko Chale Kanhaiya' in Desh by Pandit Ratanjankar depicting Krishna's pranks, ‘Jamuna Kinare Mero Gaon' in Yamankalyan. Then came a Dadra in semi classical, similar to Thumri but more folksy in genre with lighter touches. It is the name of the taal also and the concluding number was in the raag Peelu.
In the regular Hindustani concerts only a few ragas will be taken up for installing manodharma extensively and adding a few extra numbers. But this concert by Mala Ramadorai provided many items at the same time significantly offering two ragas at the beginning including several breezy numbers in the second half.
Ravindra Katoti on the Harmonium supplemented Mala's singing with many a colourful vistas and added responses at every juncture in Purya Kalyan and Kedar. Uday Karpur on the rhythmic front on the tabla was quite subdued and subtle.
