In fine fettle

Engrossing package

Many stalwarts of Carnatic music have time and again opined that the unique rakti ragas associated with the Carnatic classical system of music, showcase the in-depth beauty of Carnatic music.

Dr.S.Ramanathan was a votary to the belief that the quintessence of Carnatic music was through rakti ragas. In this recording, under review, Ramanathan has sung delightful raga sketches of Atana and Devagandhari. The ravai pidis which are vital to present these melodies come out with great clarity in the vocalist’s interpretations.

The first disc in this album begins with the Ata tala varnam in Ritigowla (‘Vanajaksha’) of Veena Kuppa Iyer, which is sung in a brisk single speed.

Sindhuramakriya is another rakti raga which has been handled by Tyagaraja alone among the Trinity. Ramanathan has chosen to sing ‘Sudhamadhurya’ out of the two compositions of Tyagaraja in this raga, the other being ‘Devadi Deva Sadasiva.’ The clearly spelt out kalpanaswaras reveal the swaroopa of the raga sans any ambiguity.

The following songs ‘Naradaganalola’ (Atana) and ‘Vinaradana’ (Devagandhari) with a spate of solfa passages for the Atana kriti are totally engaging with the singer’s voice in fine fettle.

The Muthuswamy Dikshitar composition on the Lord enshrined in the temple at Badrinath in the Himalayas, ‘Sri Satyanarayanam’ (Siva Pantuvarali-as per the Dikshitar nomenclature ) provides a very engrossing listening session.

The masterly niraval at the madhyama kala sahitya passage ‘Matsya Koorma Varahadi Dasavathara Prabhavam’ is bhava rich and moves the listener.

The violinist whose name does not figure in the inlay card provides excellent accompaniment throughout, particularly in the niraval replies for the Siva Pantuvarali composition.

The second disc opens with a sprightly rendering of the samashti charanam creation ‘Sri Guruguha’ ( Devakriya-Muthuswamy Dikshitar). The lyric ‘Saravanabhava’ in the pallavi is sung in Kizh, mel kalams and in the tisram mode.

A Bhairavi vinyasa which is not too lengthy but rich with pertinent phrases is well sung. ‘Balagopala’ (Muthuswamy Dikshitar) which conveys the synopsis of the Srimad Bhagavatam is the kriti which follows the Bhairavi essay. The brief niraval at ‘Neela Neeratha Sharira’ employs the trikalam sequence and is refreshing.

The tail-enders are a Tiruppugazh set in Hindolam and a Jayadeva ashtapadhi in Mukhari. Ramanathan excels in the sarvalaghu swaras sung for the Sindhuramakriya and Atana kritis.

Dr S. Ramanathan

CAR CD 1203\04

MRP Rs 199.

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