Navarasa in Tyagaraja

Lord Rama is the Aaradhya Daiva of saint Tyagaraja, the greatest and most popular composer of Carnatic music. His devotion is unparalleled and his keertanas on Rama are most sought after compositions all over. His krithies’ are studied on different aspects based on Raga, Sahitya, Thala Kshetra, different dieties, etc by a number of scholars, in different parts of the world. The latest addition to the long list is Navarasa in Tyagaraja.

It is the brain child of Sujatha Vijayaraghavan. She is a scholar in both music and dance and author of several books on travel and short stories. She has done the script for several dance dramas and also a member of the executive committee of the prestigious Music Academy, Chennai. Her daughter Sumitra Nitin is a practitioner of both music and dance and has performed in many organisations in India and abroad.

Sujatha Vijayaraghavan said, “in Tyagaraja’s compositions we find bhakthi, poetry and music merging to create an experience born of emotions. She chose a particular raga and composition for each raga appropriately. For instance, she chose raga Kunthalavarali for veerarasa (valour) and explained how Tyagaraja has composed both music and lyrics to suit the veerarasa.

For bhayanaka (fear) she chose Sattaleni Dinamulu in that less known raga Naganandini. Tyagaraja is the happy subject of the Rama Bhakthi Samrajya and the krithi Nidhi Chala Sukhama expresses his disgust towards materialistic pursuits, which she chose to express bhibatsa rasa (disgust). The Entanine Varninthunu in mukhari was the choice for wonder (Adbuta rasa). The Saama raga has been rightly selected by Tyagaraja to depict the Shanta Rasa in the krithi Shantamu Lekha. Sumitra Nitin performed with measured restraint in the Bharathanatyam, expressing different feelings, impactfully. Though it was a small stage for dance, she performed with ease and confidence in the available space.

Sujatha Vijayaraghavan’s commentary was successful in bringing out the aesthetic pleasure from the compositions of Tyagaraja.

Praveenkumar (natuvanga), V R Chandrasekhar (mridanga) and Madhusudhan (violin) supported from the wings. It was held under the auspices of Neelambari.

Melodious violin trio

Parur Sundaram Iyer was a great violinist and also a teacher. Both of his sons have emerged as leading violinists of 20th century and two sons of M S Anantharaman, M A Krishnaswamy and M A Sundareswaran have already proved their mettle, as violinists.

In the violin trio concert on Sunday, (Bangalore Gayana Samaja) M S Anantharaman, M A Sundareswaran and M A Krishnaswamy justified the reputation they have built over the years. They were well-supported by Madrimangalam Swaminathan on mridanga and on ghatam by K Sankar. The raag Brindavan Sarang by the octogenarian was so impressive that age for sure has not withered his spirits!

The composition (Soundarajamashraye) with measured and pleasing touches was impactful. Huseni brought nostalgic memories among the senior members of the Samaja. The raga Alapane of Kambodhi, the majestic raga, was developed stage by stage and stood out for its ragabhava.

It was further buttressed through a brisk thana, though it was slightly overstretched. The Meera Bhajan, Tillana (Kamach) and the Devaranama (Thambudari Meetidava) – were also pleasing.

Entertaining veena

Dr Suma Sudhindra, well-known artist, gave a veena recital on Friday, under the aegis of the Bangalore Lalithakala Parishat. She chose a number of popular compositions in familiar ragas and presented neatly. The Vasudevachar’s keerthane in the Behag raaga was on the traditional track. Manavyalara of Tyagaraja in jet speed, was entertaining. Thodi, in detail, glowed in their raga bhava and thana in different ragas, added lilting melody. J K Sridhar on violin, B C Manjunath on mridangam and Narayanamurthy on ghatam gave sustained support on their respective instruments.