Chinmaya Sisters, Uma and Radhika, offered the quintessence of Bhairavi in their houseful evening concert for Sri Thyaga Brahma Gana Sabha. If Radhika etched the basics of the raga, Uma who took it up from the upper shadjam presented a fascinating and wholesome delineation.
Melakkaveri Thyagarajan, the master violinist he is, created an equally wholesome, yet crisp alapana. Saint Tyagaraja’s evergreen ‘Thanayuni Brova’ was the chosen kriti. The Sisters succeeded in conveying the spirit of the composition: ‘Would the loving mother come forward to take care of her son, or should he approach her? Why don’t you appear before me to explain this secret?’ requests the saint. The niraval was at the charanam, ‘Vatsamu Venta.’ The swaraprastaras were spontaneous. The thani provided by Nellai A. Balaji on the mridangam and Nanganallur S. Swaminathan on the ghatam needs a special mention as it was indeed pleasing since it was uncomplicated and rich in sarva laghu.
The Hamsanandi alapana by Uma was extensive, yet sweet. Muthaiah Bhagavatar’s ‘Neethu Mahima Pokata Na Tharama’ was rendered beautifully. Radhika provided an apt alapana in Charukesi for the Saint’s ‘Adamodi Galade.’ Kalpanasswaras at the pallavi were marked by charismatic exchanges between the two, concluding with a natural korvai.
Though it was a musical voyage through Bhairavi, Hamsanandi and Charukesi, the one that stood out was Oothukkadu’s Suddha Saveri composition ‘Thanakku Nigar Illatha Swami’ in praise of Sri Rajagopalaswamy of Mannargudi. Of course, all his compositions are well-structured with graceful Madhyama Kala sangatis. But this one is especially so, in Rupaka talam. Their rendering was so full of energy and verve that it enhanced the beauty of the Sahitya.
The Sisters commenced their concert with a fine Sri raga varnam, ‘Sami Ninne,’ followed by Tyagaraja’s ‘Brovabharama.’ Another lovely composition that they rendered was Guru Surajananda’s ‘Muruganin Maru Peyar Azhagu’ in Behag.
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