Carnatica: Madras Music Mela 2002

MADRAS MUSIC MELA 2002

RASIKANUBHAVA 7

V Balakrishnan via email...

That good fare always succeeds in drawing a crowd of rasikas (with an unusually large presence of youth), was demonstrated even at a 2 pm concert at the Sastri Hall on December 21, 2002. Young Saketaraman, a disciple of Lalgudi Jayaraman, who is doing his Masters in Software Engineering in a Coimbatore college, was giving his vocal concert. He employs his full effort to command his clear, strong, briga-laden voice.

Saketaraman began his concert with the Navaragamalika varnam. Pranamamyaham (Gowla), was sung with full-throated enunciation of sahitya followed by a volley of swaras. The structure of Sriranjani was fully brought out in an outline of the raga, and the lively Sogasuga of Tyagaraja was sung with gusto. The swara passages at the three places Sogasuga, Mridanga and Talamu were cleverly executed. In Eti Yochanalu (Kiranavali), Tyagaraja asks Rama, "Why hesitate to bless me? There is none to raise his voice against you." Though the song was rendered well, singing at a lower tempo would have created better impression. The emotion-soaked Mukhari was a hit. Entani ne (Tyagaraja), a beautiful kriti in the raga, extols Sabari's rare privilege in having the Lord at her hut and offering him delicious fruits. The neraval and the swaras at Kanulara sevinchi were good. A breezy Nenarunchinanu in Malavi, with its chittaswara, was appropriate. The famous Kamalamba Navavarana kriti of Dikshitar Kamalambam Bhajare (Kalyani) was preceded by an elaborate alapana. Saketaraman's version of this kriti ensured that the raga was evident even in the first few passages. He showed his aptitude for fast brigas leading up to Tara sthayi Panchama. Some felt that he needed more practise to attempt such maneuvers without any flaws. The concert was concluded with Tanjavur Sankara Iyer's kriti Manadirkuhandadu in Sindhubhairavi.

Nishant Chandran, who is also doing his engineering has a good technique and ideas. Sundarkumar, a disciple of Karaikudi Mani, played softly and rendered useful support.

With a well controlled voice that has found enough depth and range, S Sowmya gave an enjoyable concert at the Mylapore Fine Arts Club on December 20, 2002. Her main strength is a voice which is always well aligned to the sruti. The varnam Sarasuda (Saveri) gave a good beginning. Guruleka (Gowrimanohari) and a few brisk swara passages at Tatvabodhana, were crisp. Being Ardra darshanam day, it was appropriate that Anandanatana prakasam (Kedaram), a Panchalinga sthala kriti of Dikshitar was rendered in Chowka kala, eulogizing the virtues of the Lord of Chidambaram. Another Dikshitar kriti Mayuranatham (Dhanyasi), followed a bhava-laden raga alapana. The Bilahari Tamil kirtana Mamayuramidileri va has lilting and rhyming sahitya of great beauty. The percussion accompanists contributed to the excellent presentation of this kriti by proper anticipation and positive support. Hemavati was taken up for elaborate raga alapana, and Dikshitar's Srikantimatim was rendered with great merit. Manji is a raga of piety and Syama Sastri's Brovavamma, invoking the blessings of Devi, never fails to touch a devotee's heart. Sowmya then took up Kambhoji, and her alapana sparkled. Ghanam Krishna Iyer's Rasavilasa in the same was a novel presentation. Neraval and swaras were imaginatively rendered. Nayaki was the chosen raga for the RTP. The swaying Nishada and Gandhara are very special and give life to the raga. Sowmya's Pallavi was suffixed with refreshing swaras in Vijayasri, Sriragam, Brindavanasaranga and Nagaswaravali. A few Tamil songs and the Tiruppugazh saw the end of an entertaining concert.

R K Sriramkumar on the violin was impressive in Kambhoji and Nayaki. Neyveli Narayanan and Udipi Sridhar played a competent Tani and were very helpful to the vocalist.

Posted on December 27, 2002

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