To mark Syama Sastri Day, Saraswathi Vaggeyakara Trust and Narada Gana Sabha organised a couple of concerts at the Narada Gana Sabha Mini Hall. Kanaka Durga Venkatesh with dainty tonal power, presented the first recital with Jayanthi Keshav on the violin and N.C. Bharadwaj on the mridangam.
‘Na Manavini,’ a rare varnam in Sowrashtram set in Chatusra Ata Talam, was the opening number. The composer’s speciality, the swara-sahitya suites, followed the charanam here. ‘Biraana Varalichi’ in Kalyani and the improvisations at ‘Syama Krishna Sodari Gowri’ showcased Kanaka Durga’s ability to grasp the raga image and play on the finer intonation to the notes of Kalyani in her swara exercises. Ananda Bhairavi alapana and the detailed essay of Thodi were sated with ingenious phrasings of traditional quality.
Yet, Kanaka Durga can opt for a little open mouthed articulation in the upper zones. ‘Pahi Sri Giriraja sudhe’ in Anandabhairavi and the popular ‘Ninne Nammi Nanu’ in Thodi were the vocalist’s preferences. The expressions in the niraval and the extensions in swarakalpana on the line ‘Kanjadalaya Dakshi Kamakshi’ were built with aplomb.
Jayanthi Keshav proved to be a dependable and competent violinist through her well conceived raga alapanas and neat swara kalpanas in Anadabhairavi and Thodi. Young Bharadwaj performed his part with calculated but restrained rhythmic format.
Shertalai K.N. Renganatha Sharma revealed a robust voice and professional approach, making his concert interesting by presenting a blend of popular and rare kritis of Syama Sastri. ‘Parakela Nannu’ in Kedaragowla with vibrant chittaswaram put his vocal programme on the right path. ‘Neelayadakshi’ in Paras, ‘Devibrova’ in Chintamani and ‘Ninnuvina Marigalada’ in Ritigowala set in Adi talam tisra nadai, came in succession and augured well for a competent musician.
Renganatha Sharma’s two raga deals, Poorvi Kalyani and Bhairavi, were envisioned and delivered in right measures. Since his voice has good range, one felt that Sharma could deploy greater discretion to add more pauses and karvais to provide better entirety to the offering. It was ‘Ninnivana Gamari’ in Poorvi Kalyani incremented with niraval and swaras on ‘Paramalobulanu Pogadi Pogadi’. His pitching of swaras with accent linking dhaviatam and shadjam was commendable. ‘Sarievvaramma’ in Bhairavi set to Khanda Jhampa talam was quaint and in the right pace, adding focussed extrapolation on ‘Madhava Sodari’. ‘Parvathi Ninnu’ in Kalkada (a raga created by Syama Sastri) was a worthy filler.
Syama Sastri’s kritis, fast or slow, are suffused with extraordinary raga bhava. It was gratifying to note that the singers paid attention to this aspect in their concerts. However, it was a bit surprising that both the artists did not choose any swarajati, another peerless contribution of Syama Sastri.
M.A. Sundareswaran on the violin gave highly eloquent replies in Poorvi Kalyani and Bhairavi. He added melodic touches to both the ragas. Trichur C. Narendran and Trichi K. Murali kept the momentum of the concert on the right track, reflective of their experience.
