A Kathakali was the main attraction of the recent concert of Padam Sikkil Gurcharan

All the artists of the stage shared the headlines equally. When the singer chose ‘Kadalan Chidambarasanathan’ with the inauguration stretch of the Tamil composition to expand the raga contours, then the scholar Umilepuram. Shivraman underlined the beauty of the Mrigam-Playing restrained for Seren rallies. Whenever violin player V. Sanjeev, while enriching melodic practice in Gopalakrishna Bharti’s ‘Karanam kettu wadi’, equally pleased on Kanjira.

If it was highlighted the aesthetics of the 110-minute Couchery held in Chennai last week, Gurcharan also presented a glimpse in the growing liberalism in Karnataka music, in memory of classical and playback singer Kalyani Menon (1941-2021). For example, a fabulous Telugu poetry was imagined in an innovative form after the poor piece. Radhika SantvanamEven for austerity, the Raga was a Kathakali Padam in the raga spatial for the dance-theater.

Interestingly, Rajiv, the filmmaker-son of Kalyani Menon, was He who tuned the 18th-century song ‘Kanugwa Harimomu’ by Devdasi Mudupalani. Karun, brother of Rajiv Menon, suggested the song Gurcharan to sing ‘Rakhamam Hare’ in Navasam – a Padam, which portrays Draupadi’s Angest with a painting play. Duryodhanavadham By Aryanarayanan Mousse (1842–1901) of Travancore.

In the last decade, Kathakali songs have started finding a place in the list of Karnataka demonstrations. While they often get a different taste in this setting, Gurcharan adhered to the origin on a large scale. NavarasamPresented in Madhyamashruta, exposes the shades of Kurinji and even Navaros – both derivatives of Shankara Bharanam. For innovation, Gurcharan presented Yamuna Kalyani and Mayamalavagovala in preamble Virtattam (Or ShlokamAs called in Kathakali), before launching Navarasam Last, in the fourth line.

Was appealing untoward. There was still no different at the slow pace Kanugwa HarimomuWhich allowed Yadukulakmoji to manifest with detailed progress of asymmetric raga. To keep the meditation entirely on the work, the singer avoided decorations, stopping a brief introductory sketch of the raga.

Maestro Umayalpuram Sivaraman underlined the beauty of restrained Mridangam photo credit: R. Ravindran

The longest alapna came to the Centralpith in Bilhari, in which Gurcharan and Sanjeev dedicated 15 minutes to single sequences, which demonstrated the vibrancy of the raga, even pointed to the symptoms of Western classical during their sharp passage. Tygaraja of Tygaraja Nazivadhara Chasing as a clever contrast, the 16-beet cycle from its leisurely allows each line to be revealed with grace measured. The singer-vyalanist duo created Pallavi with a rapidly ornate flourish that decors the composition. Although there was no Nirwal, but more than compensation, Kalpneshwar. A hurry of Sol-F Silabals shaped the convergence round, paving the way for a Rejal Tani Avataram. The nine-minute exchange between Shivraman and Sunderkumar not only highlighted the arithmetic attraction of two-kalis etc., but also developed a developed grandeur of the South Indian collision interpreted by two artists of different generations. ,

Gurucharan opened a concert with a cursory man in Kalyani, quickly climbed the upper note of the raga as a launchpad WanajakshiroAs Varanam progressed in half of his subsequent half of the Ramnad Srinivas Iyngar, the singer demanded his ability to maintain accuracy in the second pace. An assistant Umelpuram enhanced the music structure with care.

The second piece was in Devmanohari, a raga is known for its zigzag phrase. Gurcharan gave the example of this feature across the Chittaswara in ‘Paluvadamira’ of Mysore Vasudevachar. At the end of Charanam, Scale-up with ‘Marchitavemo’ once again highlighted Devmanohri’s kinship with Andolica-another Janya of Karaharpriya.

As a filler before the Principal Bilhari Suite, Gurcharan chose ‘Sumasayaka Vidha’ in Karnataka Kapi. Set for Roopka Tal, Swati Tirunal composition flowed with a calm restraint that captured the essence of longing. On the side, Kalyani, Kamas, Vasantha and a Medley of Mohanam marked the return. A Tisra-Gatti etc. were done by Phannih Pillai in Mangalam Shankara Bharanam in Saurashtra and Madhyamvati by frying the lock.