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Music Season
SRI PARTHASARATHY SWAMI SABHA
Fast tempo settles into sober stride
Sometimes, the choice of songs plays a major role in making the concert effective and lively, or subdued and solemn. Sangeetha Swaminathan started her concert well with the varnam and ‘Paramathmudu’ in Vagadeeswari with various combinations of swaras was set at fast tempo though the kriti went on a sober stride.
Sangeetha’s layout of Arabi was out of the ordinary with the initial segment mostly on longish phrases and the later part full of catchy brigas and the final integration of both in conclusion.
‘Palimpa Rava’ of Patnam Subrmania Iyer set in Rupaka talam with a bright chittaswaram kept the spirits high. The swaraprastara here was also in the galloping mode that was further pepped by GNB’s Kathanakuthuhalam composition, ‘Mangala Vara Dayaki’. Thanks to the overwhelming noise by the percussionists here.
Sangeetha must have thought this was the ripe moment to bring the concert on the sober mode. She elaborated Subhapanthuvarali. The raga with its intrinsic melancholy filled the air with a solemn feel. The gradual development by Sangeetha Swaminathan surfaced several of the bhava-loaded angles of the raga with a few touches of fast-moving brigas included in between.
Koteeswara Iyer’s ‘Velane Veru Gati Illane’ was in fact an unexpected choice and once again the extrapolation at ‘Seelane Narada Gana Lolane Nin Paadam Allal’ backed by emotional hues and varying streams of kalpanaswaras.
Sangeetha’s voice attained its full gloss in the later part of her singing that easily traversed all the levels. Nishand Chandran supported Sangeetha on the violin within the limits of an accompanying artist. Nevertheless, his raga presentations and swara exchanges carried verve. The percussion duo R. Sankaranarayanan and Nanganallur Swaminathan on the mridangam and ghatam were constantly thundering in the initial stages.
Sobriety set in on them also after the Subhapanthuvarali.
G. SWAMINATHAN
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