Vidya Kalyanaraman and Brindha Manickavasakan’s musical tribute to Syama Sastri

Vidya Kalyanaraman and Brindha Manickavasakam presenting a thematic concert featuring exclusive Syama Sastri kritis.
| Photo Credit: VELANKANNI RAJ B

With collaborations and thematic presentations increasingly shaping the Carnatic concert scene, musicians are steadily moving beyond convention in pursuit of novelty and artistic synergy. Vocalists Vidya Kalyanaraman and Brindha Manickavasakan are among those who exemplify this evolving trend. The two joined forces to present a soulful recital of exclusive Syama Sastri kritis for Madhuradhwani at Arkay Convention Center.

Such ventures, though, entail their own challenges, like reconciling patantaram variations, managing sruti alignment, sharing of musical space between co-leads and ensuring seamless melodic flow. It is to the duo’s credit that it succeeded in navigating these with aplomb, ably supported by Madan Mohan (violin), Poongulam Subramanian (mridangam) and Sai Subramaniam (morsing).

Syama Sastri, the quintessential Devi upasaka, infused his kritis with musical gravitas and lyrical candour. It is believed that he deviated from his central devotional focus (the goddess) only on two occasions: one in praise of Kanchi Varadaraja (‘Samini rammanave’ in Anandabhairavi) and the other for Muthukumara Swami of Vaidheeswaran Kovil (‘Sami ninne nammiti’ in Begada). Typically set in chowka kaalam (slow tempo), his compositions eschew abstract philosophical overtures and exude meditative depth, with heartfelt supplications to the divine mother.

Sprightly rendition

It made musical sense that Vidya and Brindha began with a varnam, given the composer’s languid tempo in kritis. A bright ‘Dayanidhe’ in Begada set the tone, lifted further by sprightly kalpanaswaras. With ‘Brovavamma’ in Maanji, the artistes tapped into the composer’s anguish and soulful plea for succour. The layers of sangatis, sung in the unhurried cadence of Misra Chapu, offered an immersive experience.

Kalyani was the first raga taken up for elaboration, with Brindha setting the stage with a measured delineation that tracked its classic contours before soaring smoothly into the tara sthayi. Vidya followed suit, her traversal of the upper octave dotted with delicate phrases. Madan’s reflective response on the violin embraced the raga’s grandeur with restraint. ‘Himadrisuthe pahimaam’ in Rupakam was a popular choice, and the niraval and swara exchanges at ‘Syamakrishna sodhari gowri’ in the charanam underscored the ensemble’s spirited engagement.

The rendition of the Yadukulakamboji swarajathi — a crown jewel in Sastri’s oeuvre — was dignified in pace and emotive in appeal. Mridangist Subramanian’s deftness in gap-filling was well complemented by Sai Subramaniam’s crisp plucks on the morsing. The briskness of ‘Triloka maatha’ in Paras cut through like a flash of lightning in the calm of a moonlit sky.

Vidya Kalyanaraman and Brindha Manickavasakam accompanied by Madan Mohan (violin), Poongulam Subramanian (mridangam) and Sai Subramaniam (morsing).
| Photo Credit:
VELANKANNI RAJ B

Meditative Thodi

Thodi featured as the mainstay of the evening. Vidya initiated the alapana with an introspective tone, and Brindha expanded it with finesse, both balancing imagination and restraint. They also did well to stay rooted in the raga’s meditative spirit so very essential to Sastri’s compositions, not getting carried away by Thodi’s regal sweep and expansive scope. Madan replied with tonal purity and melodic sweetness. There were no surprises in terms of choices of kritis until then, and a rare one was due. As if on cue, the duo obliged with the rendition of ‘Emani migula varnintu’, imbued with bhava and visranti. The duo skipped the niraval, but the swara sequence in the keezh kaalam was particularly striking.

The tani avartanam saw Subramanian weave a rhythmic tapestry with a blend of supple touches and bold strokes on the mridangam, while Sai Subramaniam added vitality to the percussive dialogue through his animated interplay on the morsing.

‘Kanakasaila viharini’ in Punnagavarali, another ode to Kamakshi by the composer, was rendered evocatively, before the recital wound up with ‘Bruhannayaki’ in Madhyamavati.