Steeped in bhakti
S. SIVAKUMAR
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It was the spirit rather than the performance that mattered as N. C. Soundaravalli and Dharmapuram Swaminathan sang.
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MUSIC, LITERATURE AND DEVOTION: N. C. Soundaravalli.
Veteran N.C. Soundaravalli lifted the audience into the realm of bhakti when she sang for the Tamil Isai Sangam.
Soundaravalli chose the Naalaayira Divya Prabandham. It was an educative mix of 15 pasurams covering all the Azhwars.
Her singing, easy-paced, reiterated that Tamil compositions have an everlasting quality, especially when rendered in a simple and rudimentary form.
"Karpooram Narumo" in Khamas, with a finishing glow at "Narumo," in which Andal converses with the conch raising certain questions, gave a first-person effect to the composition. Apart from two ragamalikas, NCS rendered Periyazhwar's "Pallandu" in Nattapadai (Nattai), "Thettarundhiral" (Kulasekara Azhwar-Panthuvarali-Saadhaari), "Karavaigal Pinsendru" (Andal-Kambodi-Thakkesi), "Manickangatti" (Periyazhwar-Nilambari-Megharagakurinji) and "Thirukanden" (Peyazhwar-Atana-Yazhmuri). The accompanying artistes — T.R. Balu (violin) and Kalaimamani Sakthivel (mridangam) — played their supportive role well. Dharmapuram Swaminathan was so overcome by exuberance and diversified approach that he deviated from the list of compositions that was circulated, thus making his compass vaster and richer.
Tirukkadayur Muralidharan (left) and S.R.Veeraraghavan. Photos: K. V. Srinivasan
Alapanas and viruthams overlapped and mingled and the words and their alliterative effects were brought out in a meaningful manner with apposite and context-sensitive intonation.
A full hour was devoted to Lord Siva and the songs included "Siva Siva Endrida Devaraum Aavar" (Arabhi), "Piraiyaarum Madakkiliye Inge Va" (Suddha Saveri), "Ennai Kallinodu Pooti-Thalam Poovodu Dhoobam Marandhariyen" (Kedaragowlai), and "Bhaktharai Panivargal Ellarkum Adiyen" (Sankarabharanam).
Balakrishnan (violin) and Karthigeyan (mridangam) toed the line of Swaminathan with good reason. It was the spirit, rather than the performance, that ultimately prevailed.
The nagaswaram holds a lofty place in Hindu culture. But most sabhas restrict it to the inaugural day function. It was an embalming experience to listen to the nagaswaram concert of Tirukkadayur Muralidharan.
He was infinitely creative in the alapanas of Suddha Saveri ("Thaaye Thripurasaundari," Thooran) and Panthuvarali ("Esane Kodi," Muthuthandavar). One was treated to a graceful dispensation of Amirthavarshini when he played "Ennai Nee Maravadhe" (Dhandapani Desikar).
Ravichandran provided support on the nagaswaram and Thalachangadu Ramanathan and Kalyanapuram Raja on the tavil.
The elaborate structures built by Muralidharan in alapanas and swaraprastharams promised that he is all set to go places.
S.R. Veeraraghavan was in favour of the established kutcheri routine.
He commenced with a Devamanohari piece ("Aanai Mugathane," Desigar) and his alapana for Panthuvarali ("Varuga Varuga," Balamuralikrishna) showed unmistakable signs of vidwat and aesthetics.
He chose the song "Thookiya Thiruvadi" (Sankarabaranam — Sudhanadha Bharathiyar) and stocked his swara singing at "Etthanayo Piravi" with a calculative and exhaustive use of "ga ma pa ma ga" and "ri ga sa ri ga."
The artiste certainly possesses immense talent but his imitative style may limit his vision and ambition. Tiruvallur Parthasarathy (violin), who has been an accompanying artiste for generations, gave simple sketches of alapanas.
Erode Nagarajan (mridangam) showed his accommodative nature and gave a tani marked by an unflagging adherence to standardised kalapramana.
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