Carnatic music has a rich collection of kritis composed by different vaggeyakaras, particularly the Trinity. Muthuswami Dikshitarâs kritis are known for their intricate phrases, melodic appeal and lyrical beauty. As Dikshitar was proficient in playing the veena, one can also see its influence in his compositions. Many of his kritis are set in a leisurely veena-playing style with quicksilver madhyamakala passages to capture the ragasâ essence.
To celebrate the composerâs 250th birth anniversary, a year-long event titled âDikshitar 250â has been organised by Veenavadhini Sampradaya Sangit Trust. the Trust, founded by Veena artiste Jayasri Jeyaraaj and Jeyaraaj, recently presented concerts by Veena Venkatramani and Neyveli Santhanagopalan at Arkay Convention Centre, Mylapore.
Stringing melodies
The evening began with Veena Venkatramaniâs veena recital spanning 90 minutes. The highlight was her presentation of kritis such as âKadambari priyayaiâ (Mohanam) and âSadasraye abhayambikeâ (Chamaram). The vainika shared that the raga, which is otherwise called Shanmukhapriya, gets the name Chamaram in Dikshitar school. Dikshitar had followed the Asampurna Melakarta system in naming the melakarta ragas.
Veena embellished each kriti with well-nuanced raga alapanas and kalpanaswaras. The tanam section, following the Chamaram alapana, stood out. Choice of kritis and good kalapramanam are her assets. Interestingly,
The tani avartanam by Tirucherai Kaushik (mridangam) and K.R. Sivarama Krishna (kanjira) was rich in complexity.
Bonding with rasikas
Senior vocalist Neyveli Santhanagopalanâs concert showed his ability to engage with the audience. He began his performance with the Gowla raga composition âTyagaraja palayasumamâ.
Accompanists Nagai Muralidharan (violin) and Mannargudi Easwaran (mridangam) elevated the presentation. Santhanagopalan got into an introspective mood in the ensuing Bilahari raga alapana as he traversed through its many layers. He presented the kriti âEka dantam bhajehamâ with kalpanaswaras. He did not indulge in too many korvais in this segment. But in the main kriti âSri rajagopala balaâ (Saveri), towards the second half of the recital, he came up with a few intricate korvais. An elaborate and creative niraval-swara segment followed after the kriti.
Earlier, Santhanagopalan presented a Varali raga alapana keeping all its aesthetics intact. The kriti chosen was âSeshachala nayakamâ. His âManasa guruguha rupam bhajareâ (Anandabhairavi) was rich in melodic appeal. Violinist Nagai Muralidharanâs repartees during the alapana and swara segements were enjoyable. Senior mridangist Mannargudi Easwaran displayed his percussive skill during the tani avaratanam.
Published – October 04, 2024 03:03 pm IST