Simple, appealing tunes
LALITHAA KRISHNAN
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The CD rendered by Sathur Sisters, has Tamil and Sanskrit songs on Sri Chandresekharendra Saraswathi.
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Photo: R. Shivaji Rao
Neat delineation: Sathur Sisters.
The release function of the Sathur Sisters’ CD titled ‘Guru Paada Samarpanam - Songs on Paramacharya’ was followed by their concert in which the sisters, Lalitha Santhanam and Bhuvana Rajagopalan, presented several Tamil and Sanskrit compositions of Visalakshi Natarajan on Sri Chandrasekharendra Saraswathi Swamigal. Set to simple, appealing tunes in a gamut of ragas, the selection of songs commences with ‘Gana Nayakam Vinayakam’ (Nattai) complemented by the easy flow of sarvalaghu kalpanaswaras.
Stand-alone compositions also include Tyagaraja’s ‘Vadera Dhaivamu’ (Pantuvarali), while Visalakshi Natarajan’s ‘Kaavi Udai Anindhu’ (Kuntalavarali) and ‘Paramananda Bhoda Swaroopam’ (Abheri) emphasised raga swaroopa through well-constructed evocative sangatis.
Gentle and aesthetic
The main piece ‘Kamakoti Peetaadhiswaram’ in Mohanam featured an alapana shared by the sisters, with Bhuvana initiating the journey to the tara sthayi shadja.
The initial suite evolved on willowy sanchara patterns, the vocalist’s approach incorporating gentleness and a yen for aesthetic expression.
With Lalitha taking over in the second suite with a voice that exuded a different energy, the delineation was strengthened with definitive halts at the tara sthayi shadja and gandhara highlighted by strong pidis. The swaraprasthara was made interesting by varied motifs.
The sloka ‘Shabdha Brahmamayi’ rendered as viruttam was followed by a ragamalika ‘Sri Jagadamba’ in ragas Chenjurutti, Punnagavarali and Nadanamakriya, a composition of Ramachandra Dave, and a Sathur legacy. The concluding ‘Menavil Thuyilurum Guruve’ a Kavadichindhu in Charukesi set to Ekam (Tisra Nadai) offered sprightly variations in gait while remaining on track with melody.
Padma Shankar’s violin accompaniment was a faithful shadow to the sisters’ interpretations, particularly in the kriti renditions that revealed the violinist’s familiarity with the compositions.
Delhi Sairam on the mridangam and Adambakkam Shankar on the ghatam embellished the recital with apt sollus.
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