Melodic statements on flute
SULOCHANA PATTABHIRAMAN
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With fluid support from the accompanists, the Sikkil trio presented an aesthetically rich concert.
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CONSUMMATE ARTISTRY: Sikkil Neela, Kunjumani and Mala Chandrasekhar. Photo: D. Krishnan.
M.A. Sundareswaran (violin), Vellore Ramabhadran (mridangam) and E.M. Subramaniam (ghatam) were the reputed accompanists for the flute recital by Sikkil Kunjumani, Neela and Mala Chandrasekhar.
Mala's Karnatakadevagandhari alapana with emphatic melodic statements had an evolved aesthetic approach that was proof of her musically sophisticated leanings.
The violinist's reply had the stamp of class with focus on melody. Dikshitar's "Kayarohanesam" on Lord Siva at Nagapattinam with plenty of sheen was a delectable interpretation. Mohanam is an enchanting bowl of nectar that hardly ever dries up.
The raga vinyasas by Kunjumani and Sundareswaran were woven by prayogas rich in texture and content.
"Rajagopalam," also by Dikshitar, was an alluring version while the swaras by the flautists and violinist with the praiseworthy support of the veteran mridangist and ghatam player were musical flights that reflected the consummate artistry of every member in the team.
The 20th mela houses the lyric of V.V. Srivatsa's delightful composition "Raghuwaram Ramam." As mentioned in this column earlier, if each song is accompanied with an announcement of its title, raga, and composer, it will help the rasika enjoy the composition more — more so in an instrumental programme.
Neela's Sankarabharanam, avoiding superficial polish and gloss, was garnished with classical prayogas that established a listener rapport. Sundareswaran's alapana provided musical pleasure in ample measure. Syama Shastri's "Sarojadhala Netri" had a soothing finish, while the sedate artistry in the neraval and the swaraprastharas, anchored firmly to tradition, were refined and relevant.
Ramabhadran's and Subramaniam's tani avartanam was a show of bewitching, breezy sarvalagu rhythm that was an elegant stream of laya melody.
Suguna Purushothaman, performer and guru, was in fine form. "Paruvam Parkka" by Anaiyya in Dhanyasi that was a rage in the 1950s and 1960s, but gradually disappeared from the kutcheri scene, was given a fresh lease of life by the singer. A short raga prelude of Devagandari and Tygaraja's "Ksheera Sagara Sayana" were emotion-charged. The lively phrases of Pantuvarali came as a contrast to the previous song, and was welcome.
Anuradha Sridhar's brief essay was a sweet cameo.
V.V. Srivatsa's "Sri Sali Vateesa Nayike" in Khanda Chapu in the mould of a Dikshitar song, was pleasant but if the sahitya had been internalised without referring to the script, the involvement in the oral expression would have registered better.
The humming of Nattakurinji was predictably followed by one of Dikshitar's navagraha kritis "Budhamasrayami." Karaharapriya, developed in detail, was indicative of Suguna's disciplined mindset that does not allow any flights of fancy but concentrates on traditional moorings. The violinist, true to the Lalgudi tradition, played an alapana, balanced and proportional in keeping with the vocalist's elaboration. The neraval in the charanam "Pakkala Nilabadi" in Misra Chapu with interesting madhyama kala and dhurita kala sequences and the swaras for "Thanuvuche," ``Monarincha" and Vandana were imaginative.
Thanjavur Kumar, disciple of the late vidwan, Tanjore Upendran, on the mridangam, is well known for his percussive skills. His tani with Tiruchi Murali on the ghatam gave an added impetus to the proceedings.
Suguna is a composer of merit. Her "Kanden Kanden" in Atana, in praise of the bard of Tiruvaiyaru, had pleasing lyrics and an attractive rhythmic structure. There were plenty of Musiri Subramania Iyer touches in the delineation of Sama, the raga chosen for ragam, thanam, pallavi.
A sensitive soothing Sama from the violinist spoke volumes for her disciplined classical training. The Tri Kala, neraval and swaras for Tisra gati Pallavi in Tisra Jhampa talam had the precision of a surgeon's scalpel.
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