SIKKIL GURUCHARAN IN VANI MAHAL- 20/2/17

[CRama]

Accompanists- Dr.M.Narmada-Violin
K.V.Prasad-Mridangam
Trichy S.Krishnaswamy- Ghatam
List of songs.
• Padavini sadbhakthi-Salagabhairavi- (S)
• Paralokabhayamu-Mandari- (N)
• Etulabrothuvo-Chakravakam- (R,S)
• Tatvamerugatharama-Garudadhwani
• Chetulara sringaramu-Natabhairavi (R,N,S)
• Tani
• Manamuleda-Hamirkalyani
• Lali lali-Khamas
• Mangalam

The concert was a part of the on going Tyagaraja Utsavam. Obviously all the songs were Tyagaraja kritis. The concert had an unusual start with Padavini and was ornamented with heavy dose of swarams which I liked very much. The concert had verve and gusto from the beginning itself. Next song was obligatory Pratimadhyamam. But the choice was Mandari – not a frequently heard song. The neraval at Tinnaga gani devalogamani was refreshing but not very lengthy. The first ragam of the day was Chakravakam. Sikkil brought an elaborate picture of the ragam through characteristic phrases, plain notes, measured brighas and many catchy phrases which was a pointer to his brimming manodharmam. The song Etulabrothyuvo and the captivating swarams in two kalams with many attractive vyavaharam laden phrases received loud cheer from the discerning audience.

Tatvameruga came as a quick filler. Sikkil then unleashed a step by step alapana of Natabhairavi- rarely heard in the concert stage. The alapana took nearly 15 minutes and the raga swaropam got unfolded very nicely without any ambiguity. The song chosen was Chetulara. Sikkil announced that we are used to enjoy this song in Bhairavi in the Tyagaraja aradhanas. Semmangudi Mama (his Paramaguru) has rendered in Natabhairavi and hence I am also rendering in Natabhairavi. S.Rajam also used to render in Natabhariavi. He has mentioned in one programme that Tyagaraja composed only one song in Natabharavi. Unfortunately that song also lost its identity and shifted to Bhairavi. R.Vedavalli had gone a step further and said that this song is originally composed in Kharaharapriya.

Whatever the musicologists say, true, we are hooked to the Bhairavi version and Bhairavi is one instance of the daughter being more beautiful than the mother. Bhairavi has an innate beauty, majesty and grandeur much more than Natabhairavi. You cannot counter that. Personally, I got very much attracted to this song in Bharavi after hearing a concert of Chembai and one recording of MLV singing this song in a most attractive manner with neraval and swarams. My all time favourites.

Coming to Sikkil, he did full justice to the song and all its elements. He sang many innovative sangatis at Sringaramu jesi jutanu emphasising the bhava contained in the sahithyam. Neraval was done in two kalams at Setubhandhana surapati bringing the myriad colours of the ragam and the long array of swarams landing at pa da nee -the swara sthanams of setuban. It was a nice manodharmam element. There was no frenzy at the end of the melkala neraval. The post tani songs were also rendered well.

Dr.Narmada with her infectious smile responded most fittingly to Sikkil’s swarams and neravals. Her alapanas of Chakravakam and Natabhairavi were very illuminative of the contours of the ragam. K.V Prasad, with his long experience of accompanying various singers, provided an admirable follow up of the kritis, neravals, swarams and his tani with Krishnaswamy showed the variety of sollus, spacing, clarity of strokes and right nadam. An excellent concert for two hours and ten minutes. The concert closed at 8.40 P.M. The audience were happily enjoying the concert. I cannot understand why the concert should not be extended at least till 9 P.M.

[Sivaramakrishnan]

Whatever the musicologists say, true, we are hooked to the Bhairavi version and Bhairavi is one instance of the daughter being more beautiful than the mother. Bhairavi has an innate beauty, majesty and grandeur much more than Natabhairavi.

Tamizh Tyagayya created a much home loving Sree Vallee Devasenapathe which rose to the status of numero uno in Natabhairavi.

Heartening to note that Sikkil's rendering is devoid of any 'Sikkal' (which is in fact the correct way the place name is spelt)!

[sureshvv]

Whatever the musicologists say, true, we are hooked to the Bhairavi version and Bhairavi is one instance of the daughter being more beautiful than the mother. Bhairavi has an innate beauty, majesty and grandeur much more than Natabhairavi.

The Janaka - Janya relationship between ragas is not based on genesis. Many Janya ragas predate their "parent" ragas including the instance you cite above. The terminology is misleading if taken literally.

[bhakthim dehi]

He has mentioned in one programme that Tyagaraja composed only one song in Natabharavi. Unfortunately that song also lost its identity and shifted to Bhairavi. R.Vedavalli had gone a step further and said that this song is originally composed in Kharaharapriya.

Saint Thyagaraja might have composed only one song in Natabhairavi. But, is chetullara was that lone composition? I doubt.

Smt. R . Vedavaali was indeed right. Chetullara was composed only in Karaharapriya. Thillaisthanam Narasimha Bhagavathar mentions the raga of this krithi as Karaharapriya. Same with Sri AM. Chinnasvami Mudaliyar whose source was from Valajapet disciples. Even Smt. Ritha Rajan attests the same in her thesis. Sri. KV, Srinivasa Iyengar, though didnt mention his sources, his notations were mainly from Umayalpuram disciples and a few form the disciples of Valajapet tradition is my assumption. In his book 'Thyagaraja Hrudayamu', Chetullara is mentioned as Karaharapriya and the notation closely resembles that of AMC. Sri. SA.Ramasvamy Iyer of Thiruvotiyur also mentions chetullara as Karaharapriya. He was an illustrious disciples belonging to both Valajapet and Umayalpuram school is to be remembered.

So, chetullara is to be sung only in Karahapriya according to the tradition. Singing in Natabhairavi or Bhairavi is only under one's own wish with no traditional background.