As part of a four-day series of thematic melam concerts, the Sumanasa Foundation featured vidwans Chingleput V. Muthukrishnan and Kanchipuram M.K. Palani (nagaswaram) accompanied by Mambalam S.P. Arulanandam and Nandambakkam H. Dakshinamurthy (thavil) in a recital of Swati Tirunal compositions at the Ragasudha Hall.
Beginning with a trio of well-honed, popular kritis, the artistes moved from ‘Deva Deva Kalayamite’ (Mayamalavagowla) and ‘Smara Sada Manasa’ (Bilahari) to a leisurely ‘Mamava Sada Janani’ (Kanada) that established vistara.
Smooth flow
Palani’s Pantuvarali alapana gained strength from predominantly madhyama kala sancharas wafting an unmistakeably Carnatic aroma interspersed with a sprinkling of panchama-varja prayogas that flowed smoothly to a steadily held tara sthayi shadja. Here, the rishabha suite held attention with its panchama and shadja-varja moorchanas. The kriti ‘Sarasaksha Paripalaya’ carried verve.
The Charukesi delineation presented by Tirukovilur Balaji, a disciple of Muthukrishnan, manifested as fluid swaroopa-affirming passages embellished with stepped janta swara prayogas that laid the foundation for a forthright essay, brushed with the lingering pathos of passages trailing off to dhaivata wisps. Refreshingly exposited at an unhurried pace that is rarely encountered even in vocal concerts, the kriti afforded ample opportunity to dwell on the niceties of sahitya modulation. What particularly stood out was the steadfast adherence to chosen kalapramana and the near-vocalisation of lyric.
Offering a brisk contrast, ‘Paripalayamam’ (Ritigowla) showcased a sparkling progression of sangatis at the charanam ‘Tamara Sayatha.’ Next up was a raga that is almost synonymous with the instrument – Shanmukhapriya. Muthukrishnan’s alapana shone with a strong panchama suite that saw a volley of successive sancharas in rapid progression, with hardly a pause for breath.
Passages moved above and beneath the nishadha to offer valuable glimpses into hidden niches of bhava. The kriti ‘Mamava Karunaya’ segued into kalpanaswara sallies at the pallavi eduppu, in which the melkala tisram rounds, tinged with an exciting degree of risk, were successful forays.
Sparkling thani
Arulanandam and Dakshinamurthy presented a sparkling tani avartanam , particularly in the tisram and khandam exchanges.
Post the thani, a Sindhu Bhairavi sketch led the way to a poignant ‘Ramachandra Prabhu.’ A sense of calm pervaded the rendition of alapanas and kritis, free of flurry or hurry. The thavil preludes to the compositions and percussive interludes between anupallavi and charanam emphasised the unique nature of melam. The artistes’ compilation of familiar as well as rare kritis spanning a range of contrasting talas added interest.