Review of OST’s concert on 28-Aug-2011

— Naren Sundararajan

Manodharmam brimming with aesthetic charm It was on the 28th of august when the concerts series began again after a heavy and fruitful monsoon. the beginning was aptly done by senior vidwan sangeetha choodamani Sri. OS Thiagarajan ably accompanied by Mullaivasal G Chandramouli on the violin and Umayalpuram Mali on the mridangam. the curtain raiser for the evening was “Evvarani” ( Devamritavarshini, Deshadi) by Tyagaraja. This was followed by a seemingly rare composition in Suryakantham. After a brief rendition of “Nenendu Vedakuthura”, the vidwan sang ” Rara mayinti daka” in asaveri. This done, he settled down for a brief essay of Sriranjani.

Chandramouli’s response was insightful with beautiful touches near the daivatham that furnished the raagam well. Tyagaraja’s well – known work, ” Sogasuga Mridanga talamu” followed. The most impressive and heart warming aspect of this piece was the swara passages that were sung at “navarasa yutaruti” which brought out poetic charm to the line and involved beautiful and well knitted patterns. After a pacy “Sanatana” in Phalamanjari, there was a detailed delineation of Todi. the tanam was followed with acute precision by the violinist. The pallavi, set to Adi talam, was – “Nigama Sudhavinodhini Nirajadala Lochani Pahi” with the eduppu after 4 aksharams. It was an interesting and well renderred piece, all due features taken care of. The ragamalika swaram section included Hamsadhwani, Bahudari, Hindolam and Suruti.

The thukkada section was completed by “Nale Nal” (Kapi), “Marubari Talalenura” (Kamaas), “Sharavanabhava”  (Shanmukhapriya)  and “Mahadeva Jagannatha”  (Kalyanavasantham)  before the artist concluded with his signiture culmination of “Vedasannutha Bhavamu “( Anupallavi section of Nadupai) and the mangalam. Overall the most commendable aspect of this concert was the manner in which the vocalist brought out the sahitya bhava of the pieces through his manodharmam. It was manodharmam in the truest sense where the imagination swirled around improving on the gist of the sahitya rather than mechanically forge permutation combinations of random types to show off one’s calculation skills.