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Sowmya

Sowmya’s presentation was totally comprehensive to contain viruthams, khadkhas, Nondi Chindhu, Vazhthu Mangalam and songs in the local dialect and hence was well-researched and well executed. While familiar numbers were ‘Sivaloga Nadhanai’ (Mayamalavagowlai), ‘Vazhi Maraithirukkudhu’ (Nattakurinji), ‘Thillai Sthalam’ (Sama), ‘Chidambaram Pogamal’ (Chenchurutti) and the immortal ‘Ayye Metha Kadina.’ The interpretation for ‘Satre Vilagi Irum Pillai,’ deserves special mention.

Sowmya took recourse to logic, proving that the song is a command to the Nandhi to shift a little and give way to Nandanar, and should therefore be sung in Hamsadhwani with its chiding mood (and not in Poorvikalayani).

Some of the songs and their contextual relevance are captured here: ‘Thirunalai Povar’ (Khamas) served as an introduction and Nandanar was shown as a devotee who always thought he could visit Sivan the next day. ‘Sthalam Vandhu’ (Kedharam) picturises the scene where Nandanar in ecstasy goes around the temple and streets with unbound joy. In ‘Kanamal Irukkal Aagadhu’ (Yaman) Kalan is taken to task.

Nandanar’s noble attempts to take everyone to Sivan’s feet is countered by the song ‘Nyayam Dhanao Namma Jadhiku Adukkumo’ and Sowmya applied her mind to recall how Subramanya Bharati had used this when he composed ‘Oi ! Thilagare!.’

If there was a main raga it was Sankarabharanam with a mellow alapana and the song ‘Periya Kizhavan Varugiran.’

Rare pieces were ‘Namakkini Bhayam Edhu’ (Gowlipantu), ‘Seidhi Solla Vandhom’ (Dvijavanti) and ‘Thillai Vaazh Andhanar’ (Surutti). A visibly moved R.K.Sriram Kumar, who gave violin support, was a perfect foil. Neyveli Narayanan on the mridangam played with utmost caution, never drowning the lyrics.

Sanjay Subramanian chose Thamizh Moovar (Muthu Thaandavar, Marimutha Pillai and Arunachala Kavi). There was an alapana of Kapi Narayani and the song that followed was ‘Thillai Chidambarame’ (Marimuthu Pillai).

He began the proceedings with ‘Siva Chidambarame’ (MuthuThaandavar) set in Nagaswaravali. The next piece was in Malayamarutham ‘Anumane Samikindha’ (Arunachala Kavi). With an exquisitely phrased alapana of Lathangi, ‘Dharisithalavil’ (Muthu Thandavar) was sung. The winsome spinning alapana of Bhairavi was well received by the audience. ‘Yaro Ivar Yaro’ (Bhairavi-Arunachala Kavi) was a rather tame affair, at least for those who have seen Sanjay go that extra mile to come up with an innovative touch.

The last two songs in the concert were ‘Innam Oru Sthalam’ (Behag-Marimutha Pillai) and the poetic flourish, ‘Kaana Vendum Laksham Kangal’ (Surutti- Arunachala Kavi).

Interestingly while fielding questions during the question hour Sanjay emphatically said that singing many Tamil compositions will in no way diminish the exalted status of the compositions of the Trinity.

He also demonstrated what was purported to be the Nagaswara Bhani in vocal singing where phrases were sung in a single breath, really an exercise in both aesthetics and the discrete control of the prana vayu.

The accompaniment by S. Varadharajan (violin) and Arun Prakash (mridangam) was of such high quality and the emphasis at all times was to aid and assist in the communicative style of the main artiste.

This lecture-type concert was part of the thematic presentations organised by Jaya TV.

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