Familiar and rare songs are delectably presented by S. Sowmya. S.P.
Solid training shows: Soulful melodies.
S. Sowmya, an established artiste with a solid traditional training, is the disciple of stalwarts such as Vidwan S. Ramanathan and T. Muktha.
Beginning with Moolaiveettu Rangaswami Nattuvanar’s Pada varnam in Nattakurinji sung in two speeds, she moves onto Tyagaraja’s ‘Seethamma’ in Vasantha with a few avartanams of sarva lagu swaras in the charanam.
Holistic effort
Sowmya’s exposition of Dhanyasi with purposeful prayogas, welcome karvais and fluent traversing in the various octaves and dhurita kala passages is a holistic effort to unravel the singular swaroopa of the melody.
Embar Kannan, the violinist, has made quantum leaps in his career through sheer dint of concentration and focussed application. His Dhanyasi alapana is rich in aesthetic content conforming to the lakshana of the raga. ‘Mayuranatham’ on Lord Mayuranatha, the consort of Devi Abhayambika is a bhava laden, cohesive version.
Mysore Vasudevachar’s ever popular ‘Brochevarevura’ in Khamas, has an arresting quality keeping rasika attention riveted. Tyagaraja’s only kriti ‘Dayajuchutakidi’ in the apoorva raga Ganavaridhi, a vivadi raga, is sung with a conscious attempt to mirror its rare, exclusive musical content. It is to the artiste’s credit that her swaraprastharas, in spite of the raga’s unfamiliarity has a flowing, easy gait.
Kalyani, an all time winner in the Carnatic repertoire, is explored at length highlighting the salient, subtle nuances of the raga. Sowmya delves deeply into the core of the melody and with total sruti alignment in the different sthayis, presents a scholarly, mellifluent rendition. Kannan’s response with complete understanding of the singer’s thought process, is a fine-tuned essay with none of the shop-worn phrases making their appearance.
‘Nidhi Chala Sukhama’ of Tyagaraja is one of its kind. Set in Misrachapu talam, it speaks about the saint’s extreme devotion to Rama and disdain for material benefits. The niraval and kalpana swaras in the charanam for the lyrical sequence ‘Sumathi Tyagaraja’ reflects unfettered, instinctive musical acumen coupled with a high degree of involvement. The swara kuraippu in the tara shadjam by the vocalist and violinist, ably supported by Poongulam Subramaniam on the mridangam is bestowed with creditable rhythmic potency. The tani avartanam on the mridangam with elegant rhythmic patterns, culminating in a spick and span korvai deserves the listener’s nod of approval.
The Ragam, Tanam, Pallavi in Kanada in Khanda Nadi Adi Talam with all the customary inputs is governed by melodic substance, rhythmic perfection and skilful presentation. The ragamalika chain comprises Brindavani and Hamsanandi with an athletic korvai in Kanada concluding the exercise. The pleasing post-pallavi songs are Sadasiva Brahmendra’s ‘Bhajare Yadunatham’ in Peelu, a Tamil tidbit in Chenchurutti and Patnam Subramania Iyer’s ‘Mariyada Teliyakane’ in Surutti.
Classical Gems
S. Sowmya
Carnatic classical _ Rs. 299.
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