Accent on patanthara
HARISH BAL
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Mathangi Sathyamoorthy's concert showcased the vocalist's grip over laya.
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Rich notes: Mathangi Sathyamoorthy.
Mathangi Sathyamoorthy's concert in Kochi was memorable for its laya and style of rendition that was steeped in classicism. She also laid an accent on patanthara (set pattern of singing compositions).
The vocalist rendered the rarely presented varnam ‘Omkara pranava' in Shanmukhapriya by Balamuralikrishna. Long expansive kalpana swaras for ‘Sreemahaganapathe' in Abhogi raga revealed Mathangi's grip over laya.
In control
Mathangi's rich voice was a listener's delight when she rendered the famed Pancharatna kriti ‘Jagadanandakaraka' by Tyagaraja in Nattai. Fast, stretched raga phrases were executed with amazing breath control as the vocalist brought out the full picture of raga Bhairavi in an alapana. The gamakas unfurled in full bloom and the sancharas surrounding the ‘nishada' were truly enchanting. Trivandrum Sampath on the violin, took a different approach by highlighting the nuances of the raga. For instance, the phrases involving two varying ‘dhaivatha' were marked out distinctly. Mathangi was at her best in her niraval for the kriti ‘Koluvaiyunnade' by Tyagaraja. Dr. Raju gave exemplary support on the mridangam in this piece and later in the tani, where he was supported by Manjoor Unnikrishnan on the ghatam. The vocalist presented the stately composition ‘Janani Ninnuvina' in Reethigowla in its entire mellifluous splendour to the slow tempo of Misra chappu.
Simhendra Madhyama raga was soulfully etched out especially in the middle sancharas.
‘Rama rama gunaseema' of Swati Tirunal was tastefully presented. Long kalpanaswara passages were sung by interspersing multiple speeds. ‘Devadevam veditam,' a Narayana Thirthar composition in Sindhu Bhairavi and ‘Karpagame' in Madhyamavati were the final pieces in the concert that was organised by Rasikapriya.
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