Mahathi’s ode to Tamil language and culture

S. Mahathi is performing with VL Kumar on violin, Vijay Ganesh on mridangam and KR Venkatasubramaniam on rhythm pad. , Photo Credit: Jyoti Ramalingam B

S. in Tamil Isai Sangam Mahathi’s performances were based on reverence for Tamil musical traditions. He was accompanied by VL Kumar on violin, Vijay Ganesh on mridangam and KR Venkatasubramaniam on rhythm pad.

Mahathi had prepared a song list of compositions by Tamil composers and saints – he opened with a rousing rendition of ‘Vallabhai Nayaka’, a varnam in Mohana Kalyani composed by Lalgudi Jayaraman. This piece, full of devotion and grace, set the tone for the concert. This was followed by Rukmini Ramani’s ‘Selva Ganapati Sharanmayya’, which was set in Valaji and Adi taala. Valaji, a pentatonic raga (Audava raga) devoid of Ma and Ni, has a bright, uplifting quality. Mahathi’s imaginative vocals, starting with ‘Aadiduvai Endru’, explored the crisp melodic contours of Valaji. The rhythmic support of the mridangam and the restrained ghatam swara of the tala pad added depth.

The progression of the concert took a different turn with Ramalinga Adigalar’s Thiruvarutpa, Virutham ‘Orumayin’ followed by the poignant ‘Appa Naan Vendudhal Kettarul’. While the emotional depth of the raga was evident, there was a subtle, recurring moment where Mahathi referred to the lyrics, ensuring the accuracy of his delivery.

In Arunachal Kavirayar’s ‘Kanden Kanden Kanden Sitaayai’ in Vasantha and Aadi Taala, Mahathi painted a vivid musical picture of Sita’s vision. The short alpana preceding the piece was marked by elegant accompaniments, with the violinist’s responses adding a contemplative touch. In Kalpanaswara, there was a brief moment of pitch adjustment in the first round, but Mahathi regained her alignment, maintaining the flow of the performance.

This was followed by Gopalkrishna Bharathi’s popular Nattakurinji composition ‘Vazhi Maraithirukudhu’, which is known for its amazing beauty. Although the Anupallavi was briefly hampered by slight vocal tension during the higher notes, it held its own, especially in the Charanam.

The tempo of the concert changed with ‘Sutrunai Vediyan’, a Thevaram in Kedargaula and ‘Saravana Bhavaguhane’ in Kannada, both fast-paced compositions.

The main piece, ‘Yadhumagi Ninderai Kali’, was a majestic exploration of Varali, one of the five Ghanaian ragas. Mahathi’s alapana highlighted the beauty of the raga through intricate gamakas, while the violinist reflected his exploration with an equally impressive response. Bharathiyar’s Virutham, ‘Ninnai Sila Varangal Ketpen’ set the stage for the masterpiece, which was presented with such intensity that the divine fierceness of Kali was captured. The strong support of the percussion instruments elevated the performance.

The Tani Avtaranam of Vijay Ganesh’s Mridangam began with traditional Korvais, transitioning seamlessly into KR Venkatasubramaniam’s rhythm pad explorations that produced the sounds of Ghatam, Thavil and Khol.

The closing section featured a mix of Tamil compositions, beginning with a Virutham, ‘Vasi Vasi Endru’ in Neelambari, which transitioned into a song from the film Thiruvilayadal in Sindhubhairavi and Anandabhairavi, which used rising numbers with devotional songs. Went. Annamalai Rediyar’s ‘Seni Kula Nagar Vasan’ in Chenjurutti added a touch of rustic charm, while Lalgudi Jayaraman’s Mishra Manda Thillana celebrating the goddess brought the concert to a close. The final presentation, ‘Vazhiya Senthamiz’, came as a heartfelt tribute to the Tamil language and culture.