Saketharaman presents a delightful surprise in his Margazhi concert

Saketharaman. , Photo courtesy: S. Hema Malini

Svanubhav (self-experience) by S. Saketharaman took center stage during the performance Karthik Fine Arts In Narada Gana Sabha. It was not the usual beginning with varnam or kriti; Instead, Saketharaman opened with a Mallari in Gambhira Nattai, setting the tone for an evening of delightful surprises.

Mallaris include only jathis and swaras, and there is no sahithyam. These are traditionally played by Nagaswaram artists in temple processions or performed as opening numbers in dance recitals. Saketharaman won the hearts of the audience with his mesmerizing rendition of Mallari in the traditional three tempos – normal, quick and slow.

Saketharaman started Anupallavi’s next song ‘Valachi Bhaktimargamutonu’ for the Thyagaraja composition ‘Chalamellara’ in Margahindolam. There was a wave of laughter as he sang several refrains of the line ‘Chalamellara Saketharama’ (“Please don’t mess with me, Saketharama!”).

good teamwork

Saketaraman with HN Bhaskar on violin, K on Mridangam. S on Sai Giridhar and Ghatam. It was Karthik. , Photo courtesy: S. Hema Malini

The Hamsanandi raga illustration before Lalita Dasar’s ‘Pavana Guru’ on Krishna, set to Roopakam, featured an aesthetic Grahabedham, producing Madhyamavati. There was another one of them during the vocal exchange, which resulted in Hindolam. HN Bhaskar on violin, K on Mridangam. S on Sai Giridhar and Ghatam. Karthik cooperates smoothly to make the rather long Kalpanaswara segment entertaining.

The poignancy of the sama was well brought out by Saketharaman in the prelude to Dikshitar’s ‘Annapurne Vishalakshi’, with Bhaskar imitating the sentiment in a short raga essay. Rhythm Rangers, Sai Giridhar and Karthik excelled in their modulation. Saketharaman then sang Ramalinga Adigal’s ‘Petra Thai Thanai’ as Virutham in Shanmukhapriya, followed by Ponnaiah Pillai’s ‘Thandai Thai Irundhaal’ in the same raga.

Dvi Raga Pallavi

The pièce de résistance was a bi-raaga pallavi in ​​Mohanam and Ranjani. Saketharaman initially gave a different flavor to his Mohanam Alapana by opening some krithis in the raga, which seemed somewhat disjointed. But once he settled into more traditional and arranged phrasing, it was melodic flow all the way. However, his essay on Ranjani was brief, and he summarized it by alternating the ragas. The tanam was also short in two movements before discovering the pallavi line, ‘Mohana ranganai panimaane dinamae; ‘Gopi Ranjana’, set to Khanda Triputa taala. After barely a few renditions of the Pallavi, Saketarman enters the Ragamalika swaras with the Saranga, Brindavan Saranga and Shuddha Saranga, creating a fascinating theme. His inclusion in the opening of Lalgudi Jayaraman’s Thillana for Brindavan Saranga was a delight. However, one thought that Pallavi, could have been more detailed.

Clarity and energy reigned in Sai Giridhar and Karthik’s Taani Khand. Bharathi’s ‘Theeradha Vilayattu Pillai’ in Ragamalika, a Virutham ‘Vizhikku Thunai’ from Arunagirinathar’s ‘Kandahar Alankaram’ and Madurai GS Mani’s ‘Naalai Varum Eneru’, both in Chandrakaunas, and Othukkadu Venkatakavi’s ‘Aadhu Asangadhu’ conclude the concert. Presented in phase. ,