Aesthetic exploration of ragas
P. VIJAYAMBIKA
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Sakambari Kesavan's carefully chosen numbers and full-throated voice captivated listeners.
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It was an enthralling evening at the Vithuni Saneeswara Temple where the Swathy Sangeetha Sabha, Palakkad, organised its monthly programme. Veteran mridangam vidwan, L.V. Krishnan, disciple of the mridangam maestro Palakkad Mani Iyer, was honoured and awarded the title `Nadachandrika.'
Initiated into the art of playing the mridangam by his father, Kalpathy Viswanatha Iyer, Krishnan is fortunate to have accompanied stalwarts like Chembai Vaidyanatha Bhagavathar, Palakkad Rama Bhagavathar, flautist Mahalingam and C.S. Krishna Iyer.
Essence of ragas
Sakambari Kesavan's Carnatic vocal concert that followed was a treat to rasikas. She captured the beauty and grandeur of Chowkakala; its subtleties full of bhava, raga, laya and impeccable manodhrama.
Her presentation of Swati kritis, especially the rendition of raga Poorvi Kalyani and the composition `Deva Devajagadeeswara,' which was adorned with delectable Niraval of `Pavananupama' and swaraprasthara, was evidence of her training under the Seemangudi school.
A student of Pala C.K. Ramachandran (a disciple of Seemangudi) and Thrikkariyar Rajalakshmi, her melodious voice captivated listeners.
She started the concert with Kedaragowla Adi tala varnam `Swami Dayajooda' of Thiruvottiyur Thyagayya.
A brief rendition of raga Hamsadhwani was followed by `Varavallabha Ramana' and the famous Swati composition `Deva Deva Kalayami' in raga Mayamalavagowla, set to Adi tala and embellished with kalpanaswara.
Rendition of Kanada focussing on the upper octaves, displaying the purity of the raga, elated the music lovers. The Swati kriti `Mamava sada Janani' in the raga ensued. `Nee Kela Deyarathu' of Ramaswami Sivan in raga Sarasongi set to Khanda Chappu tala in medium tempo was well received by the audience.
Slow and steady
The ragalopana of Kamboji was classical and mellifluous. Presentation of the Swati composition `Karanam Vina Karyam' set to Misra Chappu, in a slow pace, adhering to the elegance of the kriti, captured the emotional richness of the composition.
Sankambari's brilliant selection of a fast number `Ninnada' of Tyagaraja in raga Kannada set to Adi tala created a delightful mood.
Raga chosen for detailed elaboration was Kharaharapriya. The exquisite alapana, with precision and perfection, and her pliable voice easily traversing through the Tharasthayi notes and attractive sancharas, struck a chord with the audience.
Chembai Venkitaraman, in his solo, showcased the raga bhava to the full extent by reproducing the key phrases.
The Swati kriti `Sathatham thavaka padasevanam' set to Adi tala was sung with piety. The beautiful niraval at `Mama Hrudi Vasanisam' and cascading swaraprasthara that followed enchanted the music buffs.
The thaniavarthanam of Vithanassery Madhusoodanan saw some enchanting phrases.
Uthsava Sampradaya kriti of Swati Tirunal in raga Husseni set to tala Roopakam, `Kanakamayamayeedunna,' highlighted the aesthetic bliss of the composition.
Swati kritis `Bhajabhaja Manasa' in Sindhubairavi and `Sankara Sreegiri' in Hamsanandi were also sung. The ragamalika slokam `Namasivaya' dedicated to Lord Siva led the rasikas to musical ecstasy.
Without the able support of Venkitaraman on the violin and Madhusoodanan on the mridangam the concert would not have been a success.
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