Classicism of Kathakali music
V. KALADHARAN
Vedika
Kathakali Padangal - Kottayam
Kathakal
Kottackal Narayanan (CD)
Rs. 100
The progress of Kerala's vocal music heritage is, for the most part, embedded in its classical performing arts like Krishnanaattam, Kathakali, Mohiniyattom and Thullal. Of them, the overall development of Kathakali was recognised as the most fabulous in the 20th century. The virtual integration of Kathakali music - vocal and instrumental - with the visual content underpinned the classical framework of this dance-theatre tradition.
With the establishment of Kerala Kalamandalam, Kathakali music got systematised under the dynamic leadership of the late Kalamandalam Neelakandan Nambeesan. His last disciple Kottackal Narayanan carries on a style of singing sans unnecessary frills and melodrama.
The four plays from the Mahabharata composed by Kottayam Thampuran are a challenge for Kathakali actors and for vocalists too. The singing of each stanza in the plays like `Kalyanasaugandhikam' and `Kirmeeravadhom' demands the correct pronunciation of the Sanskrit words and keen attention to the meaning of every line. When it comes to the rendition of the unusually slow padams, Narayanan's voice is patient and balanced. Narayanan's saareeram has a metallic quality that pervades the whole unit of performance.
Kathakali music cannot aspire to the richness and diversity of classical Carnatic Music. Yet the soul-stirring Kathakali padams can enchant listeners with its stress on literature and sentimental overtones. The CD under review is testimony to these merits unique to abhinayasangeeta. The first part of the CD begins with the emblematic vandanasloka, `Maathangaananam' in raga Kedaaragaulam. Its akaara-humming and the stress on jeevaswaras find an indigenous flavour in the sphere of Kathakali music. All the slokams and the padams that follow except the last one are from the Saugandhikam play. Kottackal Narayanan's singing is based on the varying visual rhythms. Hence, we, the listeners, are lifted to a world of epic characters such as Panchaali, Bhima, Hanuman and Dharmapura. The padam, `Aarihavarunnu' and the preceding slokam in raga Madhymavathy are an unusual treat to the rasikas.
In the second part, Narayanan has sung the stanzas and the padams from `Kirmeeravadhom' and `Bakavadhom,' evoking all the subtle bhavas. `Kashtamaho,' the padam of Krishna in `Kirmeeravadhom' and the two padams, `Kolahalamodu' and `Chentharbaana' in Bakavadhom convey the depth of classicism in Kathakali music. Like his guru, Narayanan has a nasal accent in singing that goes well with his chiselled brigas and alluring gamakas. If one listens closely to the treatment of ragas like Sankarabharanam and Kamboji in the padams rendered, he/she can be convinced of the true identity of Kathakali music.
`Vazhiyilninnupoka,' a padam in raga Kamboji (by Bhima to Hanuman) and `Bheethiyullilaruthottume,' (the padam by Hanuman to Bhima) in raga Sankarabharanam best illustrate the individuality of vocal music as vachikabhinaya in Kathakali.
While most of his colleagues in the field are experimenting with unfamiliar ragas and sophisticated modulations, Kottackal Narayanan is engaged in reinventing a great tradition armed with an understanding of the textual nuances, raga bhavas and a firm grip over the tempos. Through this CD he has proved that Kathakali music does have a life beyond trends and fashions.
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