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Age was never an issue here
G. SWAMINATHAN
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Presenting his own compositions, Thanjavur Sankara Iyer offered pure classical fare.
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Photo: B. Jothi Ramalingam
Unblemished articulation: Thanjavur Sankara Iyer ably supported by Padma Sankar and B. Sivaraman..
The process of ageing may rob one of physical strength but it can hardly touch the determination and confidence empowered by knowledge.
So it was proved as veteran composer musician Thanjavur Sankara Iyer presented his own songs for Nada Inbam at the Raga Sudha Hall.
His voice did crack occasionally and the upper region efforts were definitely strained, but the core was pure and the articulation remained unblemished, the raga explorations turning out to be things of beauty and melody.
In full form
The senior vidwan started his concert with the ‘Viriboni’ (Bhairavi) varnam with an a fresh pack of his swarakalpana in Ata talam. The concert found him in full form, almost prefacing each composition with a brief to lengthy alapana and many with kalpanaswara.
The focus was on Purvikalyani, Thodi and Kedaragowla. ‘Dasan En Mael Dayai Puriya’ in Purvikalyani, ‘Sri Rama Dhoota Hanuman’ in Thodi with niraval and swaras for the line ‘Engum Niraindavanai Ellorayum Kaappavanai’ offered ample scope for the singer to highlight the raga’s aural charm.
‘Aadidum Paadhathai Vazhipadum Adiyaar’ in Kedaragowla had several stretches of engaging sangatis and vibrant kalpanaswara. Iyer’s raga expositions were more of suggestions on the high flier phrases of the raga which were instantly captured by the violinist Padma Sankar.
In this special concert, Padma Sankar’s role was a highly praiseworthy. She was so observant that she reproduced even the fleeting references of the phrases of the vocalist which later figured in her versions with more fluidity and additional embellishments.
Enticing phrases
In many instances, Sankara Iyer was so impressed with Padma’s enticing phrases that he intercepted them vocally. The mesmerising Purvikalyani, the melodic Thodi and a magnetic Kedaragowla were to Padma Sankar’s credit. She also finely exchanged the swara sallies with Sankara Iyer on multiple combines of janda and thattu swaras in many places.
The other numbers of Sankara Iyer in the concert had a common component, all the chosen ragas being colourful. ‘Sakthi Ganapathiye’ (Gowla), ‘Saravana Bhava Guhane’ (Sahana), ‘Thaye Dayapari’ (Lalitha) ‘Mana Santhi Alikkum Kanthimathi’ (Chenjurutti) and ‘Manamalar Anindu Maiyal’ (Surutti) made listening a pleasure.
The concert had other interesting sidelights such as Sankara Iyer’s open admiration for Padma Sankar’s violin and B. Sivaraman’s mridangam, and his candid remarks now and then on music and current events.
Nonetheless, one could not help feeling a little disappointed by the absence of Sankara Iyer’s famous numbers such as the Ranjani mala and ‘Manadirkukandadu Murugan’ in Sindhubhairavi. It would have been indeed a treat to hear them in the composer’s own voice.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
