AISWARYA SANKAR AT MUSIRI’S HOUSE 14/8/16

[CRama]

Accompanists- L.Ramakrishnan-Violin
Kallidaikurichi Sivakumar-Mridangam
Harihara Sarma -Ganjira. List of songs.

• Slokam on Dakshinamurthy- Seethapathy-Khamas T (N,S)
• Brovavamma-Manji-SS
• Apparamabhakthi-Pantuvarali-T (R,N,S)
• Namoralakimpa-Devagandhari-T (R)
• Saraseeruhanana Rama-Mukhari-T
• Devi Jagajanani-Sankarabharanam-ST (R,N,S)
• Neerajakshi Kamakshi-Hindolam-MD
• RTP-Anandabhairavi- Adi 2 kalai
Pallavi-Murugane Pannirukayyane
Valli Deyvanai Manalane
• Manju nigar-Kavadichindu-Annamalai Reddiyar
• Kallaarkkum katravarkkum-Chenjuruti- Ramalinga swamigal
• Mangalam

It was a much awaited concert for me. I have attended a few concerts in that revered venue. The ambience and the warmth of the hosts are very much conducive for giving concert of long duration and high standard. I am also a big fan of the Musiri bani and his repertoire. Artistes in that venue will sing many of Musiri favourites and the concert will rise to great heights in that atmosphere.

Aiswarya Sankar- I had written about her in an earlier review as an upcoming vidushi. But she has blossomed much beyond that stage. Her music is that of a seasoned vidushi. Maturity in demeanour, maturity in raga alapanas- carefully choosing most valuable phrases of each ragam and present them with aplomb, selection of heavy weight kritis, complex pallavis, all make her concert sparkle like that of a seasoned vidushi. That is the hallmark of that Parampara- Musiri-Suguna Mami-Aishwarya- Music of high standard and settling for nothing cheap. She has got a strong voice that can negotiate the three octaves with consummate ease and has got good breath control to leash out long sangathis- be it alapana, neraval or swaras.

This concert also contained many of Musiri favourites. The start itself was with a heavy weight number. Seethapathy with neraval at Premajoopi naapai pethamanasu jesi followed with detailed swaras in two kalams. (Some people sing as Premajoochi na pai. Are there two versions) The next was Musiri masterpiece- Brovavamma in Manji in its leisurely pace with its cascade of sangathis and passing on the plea to Kamakshi expressed by the composer most soulfully. Then a very detailed alapana of Pantuvarali came which ran for 10 minutes. The alapana was noteworthy for the many sancharams in mandra sthayi- which normally we will not hear. Her mandra sthayi sancharas are very clear and do have weight which many other female vocalists do not have. The kriti Apparamabhakthi was rendered in the standard format with two charanams. Aiswarya also followed the current trend of taking up neraval for pallavi line. The swaras had very interesting combinations which spoke of her manodharmam and laya control. The entire song took 35 minutes. Devagandhari alapana took another 10 minutes and it was absolute bliss. There was no cross over with Arabhi and the kriti Namoralakimpa was rendered in a very leisurely tempo- strictly conforming to Musiri’s style. First time I heard all the charanams of this kriti and this can be told as one of the highlights of the concert.

After a crisp Saraseeruhanana in Mukhari, Sankarabharanam was taken for elaboration. The raga was unfolded carefully step by step weaving attractive patterns around the key swarams. Her open throated singing, long akara passages, well rounded gamakams, brighas, all in right proportions made the alapana a wholesome one. The abundant sancharams around mandra sthayi gandharam, madhyamam and panchamam was really exalting. The kriti Devi Jaga janani is a favourite of Musiri. He has rendered this in Navarathri mandapam many times which old timers still mention with awe. Eventhough, Sankarabharanam is the most commonly handled main raga in the concert arena, this kriti is not regular in the concert platforms in Chennai. Thanks to Aiswarya for choosing this kriti. The kriti was rendered in the most appropriate kalapramanam conveying the bhavam of the kriti very effectively. Elaborate neraval at Deva makuta mani Devithyamanapathe and the following swaras were reflective of the highest aesthetic presentation, without making it a dry mechanical affair. The entire kriti, neraval and swaras consumed a solid one hour. This was followed by the tani.

Neerajakshi Kamakshi- Musiri’s vilamba kala representation of this classic of MD is very much unique and enjoyable. Aiswarya presented this in its purest form and it was well appreciated by the discerning audience. It was now already past three hours. Sensing that the audience are well prepared to enjoy further dose of music, Aiswarya started RTP in Anandabhairavi. This also, was reigning in the top of my wish lists. I have heard very few vidwans taking up this ragam for pallavi. There is one concert of Musiri singing RTP in Anandabhairavi. KVN had expressed his appreciation of the neraval of Musiri in the RTP without any compromise on aesthetics. One master of neraval in awe of another master of neraval. Very rare instance indeed! Aiswarya took up the same pallavi and presented it in an elegant manner. Elaborate neraval and swaras at various points along the pallavi was very intelligently done here also without making it a mechanical affair. The audience felt very happy and they showed their appreciation very liberally. The Kavadi chindu of Annamalai Reddiyar is synonymous with Musiri. Aiswarya rendered Manju nigar in a lilting manner.

L.Ramakrishnan was a big support for Aiswarya. His raga alpanas were pregnant with raga bhavam and was along the lines of the vocalist. His thick and thin shades were admirable. Kallidaikurichi Sivakumar belonging to the Palghat Raghu lineage played with adequate understanding. He had good anticipation and his filling of gaps had some interesting phrases. Sivakumar and Harihara Sarma embellished the concert significantly. The tani of seventeen minutes was much loved by the audience. An excellent concert of three hours thirty minutes. Thanks to the team and the hosts.

[Nick H]

I was only able to stay for two hours, but they were very good hours.

She sang sweetly and with good feeling. The sweetness was well matched by the young violinist, and Sivakumar is always sensitive with his mridangam.

(a personal mishap: sitting cross-legged on the floor at Suguna Varadachary's feet, I was embarrassed to have vesti rip, exposing knee and thigh! . I had to swiftly go outside and retie it "inside out")

[rajeshnat]

Crama
In newspapers , musiri house concert used to be published as start time of 04:01 pm and if I am right some times it is published as 4:01 to 6:01 pm too .I am also acclimatized in reading few posts here in our forum that it is an exact 2 hour concert . While reading the songlist i was thinking may be Aiswarya sankar took possibly significantly more time - but never knew that it will turn out to be a three hours and thirty minutes concert . Certainly the musiri house has given adequate time for Aiswarya to sing.

Were there any ragamaliga swaras for the anandabhairavi pallavi ?

Great selection Aiswarya Sankar- wish i was there to participate in the exquisite musiri bhavam.Thank you for your great review -crama

[kvchellappa]

Slokam is on Sri Chandrasekhara Saraswathi (Paramacharya).
The concert is available in archive.

[Nick H]

Certainly the musiri house has given adequate time for Aiswarya to sing.

Indeed. I had heard before the event that she had been asked to sing up to 7.30

[Sivaramakrishnan]

The Sankarabharanam aalaapana was quite expansive and well rendered to match 'Devi jagajjanani' that followed.

I was recently discussing with CRama why Anandabhairavi is rarely taken up for RTP. Aishwarya's selection was a fitting reply to my apprehensions. The aalaapana was devoid of repetitive phrases and the pallavi was compact and engaging.

Thanks to the Musiris for the web-cast.