Ranjani and Gayatri’s concert turns into a musical journey

Ranjani and Gayatri Vitthal Rangan (violin), K. Sai Giridhar (Mridangam), and Aniruddha Athreya (Kanjira). Photo courtesy: R. ragu

When Ranjani and Gayatri present a concert, a deep devotional fervor combines with melodious brilliance, resonating with the divine vision of great musicians. His thematic rendition of ‘Raaga Bharatam’ at Narada Gana Sabha was no different. Vitthal Rangan (violin), K. The impeccable coordination of the accompaniment team of Sai Giridhar (Mridangam), and Aniruddha Atreya (Kanjira) added to the appeal of the concert.

Vocal highlights – Tyagaraja’s ‘Averimata Vinnavo’ in Kamboji, dedicated to Lord Rama, and an RTP in Jhonpuri as a tribute to the nation. Except for the medley at the end, the duo followed the traditional concert programme, creating a mosaic of cultural and linguistic heritage infusing it with pan-Indian essence.

Dikshitar’s Natakurinji work ‘Parvathi Kumaram’ and Kalpanaswaras made a great start. The sharp phrases in the top octave highlighted Ranjani’s subtle lathangi essay. ‘Bharti Deviya Nene’, a song by Purandaradasa for Hanuman’s mother Anjana, was an interesting choice, given the similarity of the song’s opening with the theme. The piece was presented with adulation, followed by an entertaining niraval and vocal exchange on ‘Sankara Suravara Vandita Charanam’ in the Charanam.

Both presented a well-organized musical program. Photo courtesy: R. ragu

‘Kulirmaathi Vadane’, a Swathi Tirunal Padam in Malayala-Manipravalam, set to Dhanyasi in Mishra Chapu by M. Jayachandran, ushered in an ethereal peace. In Uttam Kamboji, Gayatri hoisted a delightful phrase in the top octave. Vitthal’s bow art was filled with the sweetness of the raga. In ‘Bhaktaparadhinudu’, each note of the leisurely, imaginary voices is full of emotion. Interesting patterns and lively interplay marked Sai Giridhar and Anirudh’s crisp tenor. Arunachal poet’s ‘Kanden Kanden Kanden Seethaiyai’ in Vasantha acted as a pace-setter for RTP.

Jhonpuri, a raga that evokes a feeling of deep longing, was a fitting choice for the thematic pallavi. Ranjani and Gayatri took turns in highlighting its emotional colours. Vittal maintained a contemplative mood. The tanam was cleverly presented in an ascending movement, culminating in the pallavi, a musical tribute to Bharatam by the raga. ‘Kalkalmay Dharuman Katha Manilame; ‘Ragbhavamay Potriduvom Bharatme’ based on Khanda Triputa tala features a mixture of chatusra and tisra nadais. It was a soulful presentation by the brothers and sisters in two movements with Niraval and Kalpanaswar. After Ranjani’s voice in Saranga, Gayatri was sung in Sarsangi. The latter’s signature Grihabedham smoothly transitions into Dharmavati and Madhuvanti. ,

The sisters clearly portrayed Dasya Bhava (feeling of subordination) towards God. Nammazhwar’s Pasuram ‘Appan Adalzhiyane’ was sung as Virutham by Gayathri and Ranjani in Mohanakalyani and Malayamarutham respectively, followed by a Kannada poem ‘Ninna Paduven Ninna Pogluven’ by Gayatri in Kalyanavasantham, before Devaranama ‘Inu Daya Barade’ Had gone.

The grand final piece was a medley of four country tunes, sung in several languages ​​– ‘Vande Mataram’ eulogizing the nation (Sanskritized Bengali, Bankim Chandra Chatterjee), ‘Ram Namame Thudhi’ (Tamil, Thanjavur Shankar Iyer), ‘Hey Govind Hey Gopal’ (Brij, Surdas), and ‘Tu Hi Sharan Aayi’ (Marathi, Tukaram).