Hamazini Veetheeswaran’s choice of compositions and cultured alpanas stood out in his concerts

Hamazini Vyatheeswaran. , Photo Credit: Courtesy: sweetsound

Neyveli R. Santhanagopalan’s disciple Hamjini Vytheeswaran sings with appropriate depth. His performance at the 14th anniversary of Arche Center Chennai was mixed with a few surprises. To his credit, he included a significant number of Tamil songs in his song list for the day.

Hamzini began his concert with the popular Thodi Varnam, ‘Era Naapai’ in Adi Taal, presented in two movements. After this he presented ‘Vinayak Ninnu’, a composition by EV Ramakrishna Bhagavathar in Raga Hansadhwani, Adi Taal. When he took the line ‘Paramkripa Sagar’ in the Charanam section of the composition for Niraval, bright imaginative voices were awaited. However, he decided not to sing the notes and completed the composition with three or four malas of Niraval. A slight deviation from Swasthanam was first evident in Hansadhwani, when the artist attempted to pause between Pallavi, Anupallavi and Charanam, the sound slowed down towards Kakalinishdam. The same was evident throughout the concert – the voice on Tara Shadjam was a bit shaky, leaning towards the near notes.

The next surprise was the rendition of Chandrajyoti Raga Alapana, which was in Aadi taala before Tyagaraja’s composition ‘Bagayanayya’, which is more appropriately sung in Deshaadi taala. Hamazini concludes the composition with a good number of Kalpanaswaras. It was a controversial raga with Shuddha Rishabha and Shuddha Gandhara, which slowed down the pace of the concert. Pantuvarli or Kalyani may be a better option at this stage.

The next composition was Muthuswami Dikshitar’s piece, ‘Palayamam Parvatheesa’, in Kannada raga, Rupaka tala. It was well presented, except for a slight lapse in Swarasthanam, when the voice slowed down from Tara Shadjam to Kakalinishdam.

Hamzini’s swaraprastra for Kiravani brought out the essence of the raga. , Photo Credit: Courtesy: sweetsound

Knit Interesting Vowel Patterns

After this, the main raga of the concert, Kiravani, was presented. Hamazini chose to stay on the Mandara Sthiri at the beginning, touching on the Mandara Pancham, before moving on to the middle stable phrases. In Kirawani the Kakalinishdam is commonly used by singers to move to the Tara Shadjam. The artist chose to elaborate this swara, weaving phrases between tara rishabham and gandharam, avoiding shadjam, coming to nishad swara. This creates a special effect. However, too much of it can dilute the essence of Kiravani. Given the number of popular compositions available in this raga, Appara Tevaram ‘Vannanai Madhi Sudiya’, a composition on the Tiruvannamalai deity in Mishra Chapu taala, was a surprise. Niraval’s pace in the line ‘Veeranai Vidmundanai’ was slow and monotonous as compared to the Kalpanaswaras presented in Madhyamakala pace. Swaraprastara extracted the essence of the raga starting from each note in the Aarohan.

Next, Hamazini chose to present a Virutham in Ragamalika, followed by Papanasam Sivan’s composition “Nambikettavar Ivarayya”. The concert concluded with Dikshitar Nottuswaram in Raga Shankarabharanam based on “Rama Janardhana Ravana Mardana” and Isra Ek Taala. happened with. G Badrinath on violin and A Guruprasad on Mridangam elevated the concert with their skill.

The concert featured a significant range of Tamil compositions, and Hamazini displayed good balance in tempo. Continuous However, the ragas could have been handled better to take the concert to a higher level.