Colourful canvas of ragas

Music Six eminent artists came together for one occasion to present a rich aural treat for the music rasikas in Coimbatore.

Impressive: Mambalam Sisters. Photos: K. Ananthan

With their tonality in fine mettle, the inaugural music recital of the Mambalam siblings—Chitra and Vijayalakshmi—disciples of B.V. Raman and B.V. Lakshmanan at the 16th Pongal Music festival under the auspices of Bharatiya Vidya Bhavan, Coimbatore, got off to a brilliant start with the Ata tala varnam in Bhairavi in two speeds. After a spirited rendition of ‘Vatapi Ganapatim' embellished with swaras followed by ‘Seethapathe' in Khamas and ‘Mokshamugalada' in Saramathi, Chitra's alapana of Abhogi revealed the malleability of her voice sketching the raga with long pleasing briga-oriented phrases with felicitous ease for the kriti, ‘Sabhapathikku.'

Vijayalakshmi's raga delineation of Kalyani showcased the nuances of the raga. But the swara slippage in the niraval during the upper reaches for the kriti, ‘Ethavunara,' had a jarring effect. A Thiruppavai hymn in Khambodi, Dasar padam and a composition in praise of Goddess Saradambal in Yamuna Kalyani were impressive. The dulcet notes and honeyed phrases of Hemalatha (on the violin) in her solo versions of the ragas and swara repartees were pleasing. Sivakumar (mridangam) and Rangachari (ganjira) accompanied with their rhythmic beats in the laya wing.

Earlier, the annual Sangeeth Saamrat award was conferred on J. Venkataraman for his outstanding contribution to the field of Carnatic music and for popularising Kamalamba Navavarana kritis of Muthuswami Dikshitar. The Kovai Subri Muruga Gana Award was presented to K. Krishnaveni.

Command over laya

Abundance of reverberating vocalism coupled with enormous self-control in rendering the compositions with aplomb characterised

Sikkil Gurucharan 's concert on the second day of the festival. The aesthetic appeal in his musical expression sent the rasikas into raptures. The distinctive fragrance of Thodi wafted in with the grand opening of ‘Eranaapai' followed by ‘Sree Sankaraguruvaram' in Nagaswarali sung at an invigorating pace with a spate of kalpanaswaras attesting to the artist's consummate command over laya. His alapana of Lathangi was a linear development interspersed with swift flashes through the octaves for the kriti, ‘Emanivegithu.' The raga vinyasam of Natabhairavi for the kriti, ‘Chetulara' with sampradaya pidis was a colourful mosaic of the raga with minute embellishments. The other numbers included a hymn from Thiruppavai, ‘Sinamadayadhe' (Bahudari), ‘Idadhu Padam' (Khamas) and ‘Chinnanchiru Kiliye.'

Ramanujacharyulu (violin) displayed his rich imagination and sensitivity in the alapanas and swara sallies. Ravi (mridangam) and Rajaganesh (ganjira) deployed intricate rhythmic patterns in their supportive roles in the percussion wing.

Adherence to tradition

Sowmya 's rendition of each number strictly adhered to the tradition imparted and passed on by the guru to the sishya. That she has internalised the core was evident throughout the kutcheri. The concert commenced with ‘Neranammi,' a varnam in Kanada followed by a brisk presentation of ‘Sivagamasundari' in Jaganmohini with swaras. Sowmya flavoured Kaapi raga with a pleasing flow of sancharas for the kriti, ‘Inta Sowkya' and the feisty niraval included many inspired and telling phrases. Bilahari was sketched with full-bodied prayogas touching many facets of the raga's innate strength for the kriti, ‘Sree Balasubramanya.' The RTP in Thodi was the tour-de-force of the recital. The edifice of the raga was built with madhyamakala passages with akara predominance and interlinked chains of prayogas enthralling the rasikas.

Embar kannan's supportive role gave fillip to the artist's impulses. His Thodi expansion, with a cascade of sancharas, was an aural treat. Narayanan (mridangam) embellished the compositions and swaras with right touches of exuberance.

Clear and perfect

Distinguished violinist V.S. Narasimhan 's experiment of playing Carnatic music as Carnatic Western string quartet with the members of his troupe – Hemanthraj Mulyil (violin), Chandran (viola) and V.R. Sekar (cello) entertained the audience on the following day. Subtle gamakas of traditional ragas such as Hamsadhwani, Nalinakanti, Khambodi and Dikshitar's ‘Subrahmanyaya Namaste' were played with great clarity and perfection. The troupe's renditions of ‘Raghuvamsa Sudha' (Kadanakudhuhalam) and ‘Chinnanchiru Kiliye' elevated the listeners to the lofty world of harmony and rhythm. Earlier in his lec-dem on ‘Taking Carnatic Music to Global audience,' the veteran explained the technique of playing Carnatic music in western tune. While western classical music moves through many key centres, Indian music is centred only on one. The significance of his effort will encourage western musicians to take to playing Carnatic classical music. The troupe played ‘Ra Ra Venu Gopala' to demonstrate how it sounds as harmony in his experiment. “A harmonious blend of our melody and the Western harmony would be extremely gratifying,” he averred.

Vibrant voice

Speech therapist Sharanya Krishnan (disciple of Suguna Purushothaman) has all the ingredients of an accomplished singer. Blessed with a vibrant voice and coursing through the three octaves with ease her three-hour music session on the final day of the festival provided a rewarding experience for the rasikas. A brisk ‘Eranaapai' varnam in Thodi rendered in two speeds was gripping. Her raga vinyasam of Sahana for the kriti, ‘Ee Vasudha' proceeded step by step with well-modulated nuances to create the raga essence. Her niraval for ‘Thirukkalyana Seethaiyaikkandare' in Mohanam, stretching too far, suffered from swara discords now and then. Her poignant gamaka-oriented raga exposition of Saveri for the kriti, ‘Amba Guru Guha' showcased her artistry in touching its core. The tukkadas towards the end were refreshing. A lilting thillana was a grand finale. A note to the music sabhas, Sharanya is set to go places.

Lakshmi Venkataramani's violin accompaniment shone with the depth of her bowing and her musical phrases in alapanas and swaras exuded charm.

Radhakrishnan's rhythmic beats on the mridangam enhanced the dignity of the recital throughout. Earlier in the morning session, many eminent musicians in the city paid homage to the bard of Tiruvaiyaru by rendering his Pancharatna kritis.

In the junior slot Tharanginee, Amrita Sekhar, Srisubhashini and Chandni Suresh Babu acquitted themselves well in their alapanas and kalpanaswaras in an hour-long vocal recital every day.

(krishangan@gmail.com)