In true Alathur style
Sarojini Sundaresan, U.S.-based Carnatic musician, is one of the torchbearers of the hallowed Alathur style of South Indian music. Dikshitar's `Panchamatanga' in Malahari sung without irrelevant gamakas and garnished with swarakalpanas provides a sprightly start to the album. Saveri is elaborated with chaste, traditional prayogas, and the statement on the violin by Mullaivasal Chandramouli well establishes him as a seasoned artiste.
`Sankari Sankuru' of Syama Sastri with the vocal support of Leela Rammohan coming to the fore is a neat rendering. The neraval and swaras for `Syama Krishna Sodhari' brims with confidence with rhythm being held on to a tight leash. The korvai could have been arranged differently as not to trespass the raga lakshana.
Tyagaraja's `Kantachoodumi' was much favoured by the Alathoor Brothers, and the artiste's interpretation of the kriti, the expansion of the lyrics (perhaps it would be more meaningful if the sahitya line is sung completely instead of splitting the word Soumitri and ending with just `Sou') and the swara passages with a kuraippu are well controlled attempts within the parameters of classical music. The Neelambari song of Muthuthandavar and the vivacious varamu tillana by the singer herself reflect the artiste's rich experience.
T. V. Gopalakrishnan on the mridangam and E. M. Subramaniam on the ghatam lift the prformance level appreciably.
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