Best of classicism showcased
G. SWAMINATHAN
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Dedicating the concert to Muthuswamy Dikshitar, Sattur Sisters acquitted themselves well.
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SKILLS HONED: Sattur Sisters, Bhuvana (left) and Lalitha. Photo: M. Karunakaran.
Sattur Sisters, Bhuvana and Lalitha, daughters of veteran musician the late Sattur A.G. Subramaniam, established their credentials in no uncertain terms through their concert for Naada Inbam at the Raga Sudha Hall recently.
The tutelage under their father has taught them the imperative lessons of Carnatic music, respect for classicism and the effort to elicit the best from it.
It was no easy task that the sisters had undertaken — dedicating the entire concert to Muthuswami Dikshitar. Dikshitar's compositions demand high levels of clarity in pronunciation, enunciation and interpretation. The sisters acquitted themselves with distinction in their attempt. One more creditable aspect of the concert was the inclusion of several unfamiliar but interesting kritis.
Well, Bhuvana and Lalitha may not boast of an exceptional vocal prowess but both have genuine, balanced and well-trained voices. Generally, in the case of Dikshitar, the raga alapana or neraval becomes a little superfluous, as the composer himself extracts the quintessence of the ragas in most of his popular numbers. Nevertheless, alapana and neravals are mandatory for the concert format. The detailed deliberations of Hemavati ("Sri Kanthimatim'') by Lalitha and Sankarabharanam (``Dakshinamurthey'') by Bhuvana showcased their expertise. The latter, in comparison to the former, went slightly on a faster track, fortunately not compromising on quality. It is, indeed, essential for the sisters to integrate more pauses, repose and open-mouthed articulation. In kalpanaswaras, the sisters are well equipped, the most noteworthy feature being their total abstinence from wild meanders.
Well framed
The swara sallies exchanged between them were well framed in Sriranjani and the independent rounding off with landings on dhaivatam in Hemavati by Bhuvana and panchamam in Sankarabharanam by Lalitha were elegantly structured.
The concert was nicely packed with a variety of well known numbers including "Sri Mahaganapthi'' (Gowla), "Smaramyaham'' (Rama Manohari), "Parvatha Rajakumari'' (Sriranjani), "Sarasijinaba'' (Nagagandhari) and "Ekambaresa Nayike'' (Suddha Saveri) with lesser known ones like "Kumara Swaminam'' (Asaveri), "Sivakami Pathim'' (Nattakuranji), "Mahalakshmi'' (Madhavamanohari) and a catchy Dasavathara ragamalika (Nattai, Gowla, Sri, Arabi, Varali, Kedaram, Vasantha, Suruti, Sowrashtram and Madhyamavati) "Madhavo Mampaadu'' linked by crisp chittaswaras in each raga.
Padma Shankar is, on the whole, a very understanding violinist. Her experience in accompanying several vocalists has earned her the skill to supplement the concert with the need and thus making the teamwork successful. Padma's expressions of Asaveri, Nattakuranji, Hemavati and Sankarabharanam expertly filled the gaps left by the vocalists with reposeful phrases. She did not lag behind in weaving kalpanaswaras with equal efficacy in her replies.
Thanjavur Kumar and Trivandrum Rajagopal proved that even subdued percussion could be conspicuous and drew special attention by their tautly-knit tani in Jampa talam.
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