All the artistes on the stage shared the highlight equally as Sikkil C. Gurucharan sang the niraval alongside the sub-main package deal in Poorvikalyani. When the vocalist selected ‘Kadalan Chidambaranathan’ alongside the opening stretch of the Tamil composition to increase upon the raga contours, vidwan Umayalpuram Ok. Sivaraman underscored the magnificence of restrained mridangam-playing for the serene rallies. Equally pleasing was younger B. Shree Sundarkumar on the kanjira each time violinist V. Sanjeev took cue, enriching the melodic train in Gopalakrishna Bharati’s ‘Karanam kettu vadi’.
If this was amongst the aesthetic highlights of the 110-minute kutcheri held in Chennai final week in reminiscence of classical and playback singer Kalyani Menon (1941-2021), Gurucharan additionally supplied a glimpse into the growing eclecticism in Carnatic music. For occasion, the Poorvikalyani piece was adopted by an innovatively-conceived tune from the illustrious Telugu poem Radhika Santwanam, at the same time as the penultimate composition was a Kathakali padam in a raga endemic to the dance-theatre.
Interestingly, Kalyani Menon’s filmmaker-son Rajiv was the one who tuned (in Yadukulakamboji) the 18th-century tune ‘Kanugava harimomu’ by Devadasi Muddupalani. Rajiv Menon’s brother Karun prompt Gurucharan to sing ‘Paripahimam hare’ in Navarasam — a padam, which portrays Draupadi’s angst, from the Kathakali play Duryodhanavadham by Vayaskara Aryanarayanan Moos (1842-1901) of Travancore.
Over the previous decade, Kathakali songs have begun to search out area in the Carnatic repertoire. While they usually purchase a unique flavour on this setting, Gurucharan largely adhered to the authentic. Navarasam, rendered in madhyamashruti, evokes shades of Kurinji and even Navaroj — each derivatives of Sankarabharanam. For novelty, Gurucharan launched Yamuna Kalyani and Mayamalavagowla in the preluding viruttam (or shlokam, because it’s referred to as in Kathakali), earlier than launching into Navarasam in the ultimate, fourth line.
The unhurriedness was interesting. No completely different was the case with the nonetheless slower Kanugava Harimomu, which allowed Yadukulakamboji to unfold with the expansive strides attribute of the uneven raga. Wanting the focus to stay solely on the kriti, the vocalist prevented gildings, barring a quick introductory sketch of the raga.
Maestro Umayalpuram Sivaraman underscored the magnificence of restrained mridangam enjoying
| Photo Credit:
R. Ravindran
The longest alapana got here for the centrepiece in Bilahari, with Gurucharan and Sanjeev dedicating quarter-hour to solo sequences that showcased the raga’s vibrancy, even hinting at traits of Western classical throughout its brisk passages. Tyagaraja’s Naajivadhara adopted as a intelligent distinction, its leisurely 16-beat cycle permitting every line to unfold with measured grace. The vocalist-violinist duo constructed up the pallavi with more and more ornate prospers that embellished the composition. Though there was no niraval, the kalpanaswaras greater than compensated. A flurry of sol-fa syllables formed the converging spherical, paving the method for a regal tani avartanam. The nine-minute change between Sivaraman and Sundarkumar not solely threw gentle on the arithmetical allure of two-kalai Adi tala, but additionally the evolving grandeur of South Indian percussion as interpreted by two artistes from completely different generations.”
Gurucharan opened the concert with a cursory alapana of Kalyani, shortly ascending to the raga’s higher be aware as a launchpad for Vanajakshiro. As the varnam by Ramnad Srinivasa Iyengar progressed into its latter half, the vocalist showcased his means to take care of precision in the demanding second velocity. A supportive Umayalpuram bolstered the musical framework with care.
The second piece was in Devamanohari, a raga recognized for its zigzag phrasing. Gurucharan exemplified this trait throughout the chittaswara in Mysore Vasudevachar’s ‘Palukavademira’. The scale-up alongside ‘Marachitavemo’ at the finish of the charanam as soon as once more highlighted Devamanohari’s kinship with Andolika — one other janya of Karaharapriya.
As a filler earlier than the principal Bilahari suite, Gurucharan selected ‘Sumasayaka vidhura’ in Karnataka Kapi. Set to Rupaka tala, the Swati Tirunal composition flowed with a quiet sobriety that captured the essence of longing. Towards the shut, a medley of Kalyani, Kamas, Vasantha, and Mohanam marked the retreat. The Mangalam in Sourashtra and Madhyamavati was preceded by a tisra-gati Adi tala tillana by Ponniah Pillai in Sankarabharanam.
