The following articles written by Gopal appeared in various publications and highlight aspects of classical music and dance:
Pentatonic Raagams
Pentatonic Raagams 1 - Mohanam
This time and in the upcoming issues, we are going to take a look at the popular pentatonic raagams that have been handled in Carnatic music and inspired several movie song sequences over the years. As the name indicates, pentatonic ragams have a scale consisting of 5 notes in the ascent ( aarohanam ) and 5 notes in the descent ( avarohanam ) of the scale. These are also called AuDava – AuDava raagams, meaning 5 note – 5 note raagams. In other words, out of the usual seven possible notes, S, R, G, M, P, D and N, two notes are left out to form the scale of the raagam. Mohanam, Madhyamavati, Hindolam, Shuddha Saveri and Shuddha Dhanyasi form a family of pentatonic ragams. They are part of one pentatonic family because, each of these raagams are similar in their structure and can be derived from the other by shifting the reference of the sa note. This kind of tonic shift is called Shruti ( Pitch ) Bedam or Graha( Location ) Bedam.
The inter-relationship between these ragams can best be summarized by the following table:
Raagam Scales ( Aarohanam or Ascent )
R1 G2 M1M2 D1 N2 N3 - - Notes in Mohanam that are left out
Mohanam S R2 G3 P D2 S+ R2+ G3+ P+ D2+
Madhyamavati S R2 M1 P N2 S+ R2+ M1+ P+
Hindholam S G2 M1 D1 N2 S+ G2+ M1+
Shuddha Saveri S R2 M1 P D2 S+ R2+
Shuddha Dhanyasi S G2 M1 P N2 S+
Note that S, R, G, M, P, D, N, denotes the commonly known Sa, Ri, Ga, Ma, Pa, Dha, Ni and the number suffix is the type of that particular note. The suffix "+" represents the note in the next octave. The blank cell in the table after the S in each row represents the note in that position is not being used for that particular raagam.
For example, the scale ( Aarohanam ) for Madhyamavati is attained by shifting the Sa of Mohanam to its R2 position and playing the other notes in the scale successively. Similarly, when you shift the reference Sa along G3, P, D2 of Mohanam, you get the other raagams in the family, namely Hindholam, Shuddha Saveri and Shuddha Dhanyasi respectively. There are also many other raagams based on the pentatonic scale other than the ones mentioned above.
The first pentatonic raagam, Mohanam which is the topic of this issue, is derived from the parent melakartha raagam called Harikaambhoji. Mohanam uses five out of the seven notes of the parent raagam, namely Sa, R2, G3, P and D2. In western notation, the scale is C, D, E, G, A which makes it a C Major Pentatonic scale since the individual notes in the C Major chord are embedded in the Mohanam scale. The scale of Mohanam is found in the music of various countries such as Japan, China, Sweden and Hungary. Bhoop or Bhoopali in the Hindusthani style of music is the raag that resembles Mohanam. The raagam Mohanam is said to be suitable to be performed at night. It is meant to elicit the emotions of valor, anger and challenge although the subliminal grandeur of the raagam has been seen to have catered to other feelings as well.
Mohanam has been used in the ancient tamil works called paNN. It has been extensively handled by great composers of Carnatic music with great élan. Carnatic compositions in this raagam by great stalwarts in the yester-years include Vara VeeNa ( Geetam ), Ninnu kori varNam ( RamnaD Shrinivas Iyengar ), En PaLLi Kondeeraiya ( AruNachala Kavi ), Nanu Paalimpa, Mohana Raama ( Thyagaraja ), Swagatam Krishna ( OotthukaDu VenkaTa Subbiyer ), Kapaali, Mayil Vaahana ( Paapanasam Sivan ), Raa Raa Raajeeva Lochana ( Mysore Vasudevachar ) , Sadaa Paalaya ( GNB ), Cheri Yeshodaku ( Annamaacharya ), Mella Mellane Bandene ( Purandaradasa ) and many many more.
In tamizh movies, the music directors were both adept at producing main-stream classical sounding numbers as well as being creative enough to transcend the boundaries of classical music into what is more popular among the masses. Mohanam was one of those raagams that stayed afloat unswervingly among music of different origins. Tamil film music has seen the lilting brilliance of Mohanam since the 1940s to the present day compositions in numbers such as Ramanai KaNNaara KaNDene, Amudhum Thenum edharkku, KaaTru VeLiyiDai KaNNamma ( KappaloTTiya Thamizhan ), Oru Thanga radhatthil ( Dharma yuddham ), Geetam sangeedham ( Kokkarako ), Naan undan thaayaaga venDum ( Ullaasa ParavaigaL ), Pazhaga theriya venDum ( Missiamma ), poovil vanDu koodum ( Kaadal Oviyam ), Vetri ETTu dhikkum ETTa ( Naam Iruvar ), Ninnu kori varnam ( Agni Nakshatthiram ), Naan Oru Ponnoviam KanDen ( Kannil Theriyum Kadaigal ). The innovative composition Bansaayee.. based on Mohanam by M.S Vishwanathan in the movie Ulagam SuTTrum Vaaliban, picturized in Japan blends in very well with the ambience there. Similarly, the song Sayonaara Sayonaara form the hindi movie Love in Tokyo is set in the Mohanam scale.
Mohanam’s other counterparts in its pentatonic family have also left massive foot-prints in the world of both Carnatic music and film music. We will take a panoramic look at each one of them in turn in future issues. Until then, spend some time listening to the plethora of compositions in Mohanam and you will for sure concur with my views.
-Gopal Venkatraman, Troy, MI
Pentatonic Raagam 2 - Magnificent Madhyamavati !
As we slide one step over from Mohanam's AarohaNam (ascent ) by performing a tonic shift ( Graha Bedam or Shruti Bedam ), we land on the second raagam in our pentatonic family, Madhyamavati. This implies that the R2 of Mohanam is taken as the Sa of Madhyamavati. Being an Audava - Audava raagam, Madhyamavati’s AarohaNam is Sa Ri2 Ma1 Pa Ni2 Sa and the AvarohaNam (descent ) is Sa Ni2 Pa Ma1 Ri2 Sa. This raagam is unique in that it is the only raagam in this pentatonc family that is very gamakam (oscillation) oriented and it requires to be performed by accurately oscillating the Ri2 and the Ni2 notes above their respective base frequencies. Madhyamavati is the janya (child) raagam of the 22nd Melakartha (parent) raagam Karaharapriya. It is said to be a Suraagam - an auspicious raagam or Shubhakaram – that which brings goodness. Performing the raagam is said to ward off sins ( doshams ) caused by singing other raagams at inappropriate times. It is well suited to be rendered in virutthams, raagamaalikaas and shlokams usually performed close to the end of the concert. Arunachala Kavi has employed this raagam for many songs in his RamanaTakam. This raagam is capable of portraying Bhakti and KaruNa rasam. Madhyamavati aalaapanai is traditionally performed after the concluding number called the Mangalam (auspicious) number - Pavamaana Sudutu Pattu in Saurashtram raagam. Hindustani raagams Madhyamaadi or Madhyamaditi Sarang of the Kafi thaat have the same scale as Madhyamavati and hence form able counterparts. Madhyamavati is suitable to be performed in the late evenings.Carnatic music composers have zestfully fancied utilizing Madhyamavati in their compositions probably due to its natural ability to lend a propitious aura to their devotional lyrics. Popular Carnatic compositions include Palinthsu kamakshi pavani ( Shyama Shastri ), Venkatesha Ninnu, Alakalalla lADaga, Nadupai Balikeru, Ramakatha Sudha ( Thyagaraja ), Dharmasamvardhini, Pannaga Shayana Padmanabha ( Muthuswami Dikshitar ), Karpagame KaN Paaraai, SharavaNabhava Guhane ( Papanasam Sivan ), Shankari Shri Rajarajeshwari, AaDaadu Asangaadu Vaa ( Ootthukadu Venkata Subbaiyer ), Parthasarathi Nannu ( Ramanathapuram Shrinivasa Iyengar ), Vandaan Vandaan Bharatan ( Arunachala Kavi ), Saarasamukha Sarasijanaabha, Shri Padmanabha Kalayitum ( Swati Tirunal ), Nannu brova raada, Raamabhiraama ( Mysore Vasudevachar ), Shri Parameshwara, Shrimad Tripura Sundari ( Mutthaiah Bhagavatar ), the ever popular Bhagyada Lakshmi Baaramma ( Purandaradasar ) to name a few.The aesthetic elegance of Madhyamavati has apparently fascinated film music directors from all over India, especially the ones in the south. Particularly in the 60s and 70s the popular tamil movie songs tuned in Madhyamavati - Pon Ondru Kanden ( Paditthaal mattum podhuma, 1962, Viswanathan-Ramamurthy ), Aagaaya Pandalile ( Pon Oonjal, 70s), MutthukkaLo KaNgaL ( Nenjirukkum Varai, 1967, MSV ) are still unforgettable. Ilayaraja seems to have been so mesmerized by this raagam that he has atleast a couple of dozen songs tuned in Madhyamavati. Significant ones in his compositions are En Kalyana Vaibhogam ( Azhage Unnai Aaraadhikkiren, 1979 ), Nee Daane Endan Pon Vasantham ( Ninaivellam Nithya, 1982 ), Aagaaya Gangai ( Dharma yuddham, 1979 ), Thaazham Poove ( Kai Kodukkum Kai, mid 80s ), Aananda Ten Sindum ( MaN Vaasanai, 80s), Malargalil aadum ( Kalyana Raman 1979 ) , Thulli Thulli ( Chippikkul Muthu, 80s ), Solai Kuyile ( Ponnu Oorukku Pudusu, 80s ), Kavidai Paadu Kuyile ( Thendrale Ennai thodu, 1985, partially Brindavana Saaranga) and Nila Kayudu ( Sakalakalaa vallavan, 1982, partially SriRaagam ). There are indeed several compositions influenced by Madhyamavati, in Kannada, Telugu, Malayalam films and even Punjabi Bhangda. Perhaps the auspicious, joyous and peaceful nature of Madhyamavati makes it such a sought-after raagam in the field of music. I suppose it is amply befitting to describe this raagam thus:Manadil maNiyaai malaraai mruduvaai malarndu migaiyaai miLirum Madhyamavati ! - Gopal Venkatraman, Troy, MI.
Pentatonic Raagam 3 – Exquisite HindoLam!
We depart rather reluctantly after meandering the magnificent course of Madhyamavati and now embark on an exquisite excursion by transmigrating into the third pentatonic sibling, HindoLam as we perform a tonic shift like before. This just means that the aadhaara ShaDjam ( reference Sa ) of HindoLam took the position of the R2 held by Madhyamavati or the G3 held by Mohanam, earlier. HindoLam, being a child ( janya ) raagam of the 20th Melakartha NaTabhairavi, its AarohaNam ( ascent ) and AvarohaNam (descent) are subsets of the parent. The AarohaNam ( ascent ) of HindoLam is Sa Ga2 Ma1 Da1 Ni2 Sa+ and the AvarohaNam ( descent ) is Sa+ Ni2 Da1 Ma1 Ga2 Sa making it an AuDava-AuDava raagam. You will notice that although the scale ascends as "Sa Ga Ma", the phrase "Sa Ma Ga Ma" has been used in many popular compositions like Saamajavara gamana ( Thyagaraja ), Saama gaana lolane (Papanaasam Sivan) , Saama gaana lole ( G.N Balasubramanian ), Govardharna Gireesham ( Muthuswamy Dheekshitar ) and possibly many more. Also notice that in the first three compositions the notes "Sa Ma Ga Ma" match the initial syllables of the saahityam (lyrics) of the song. This is referred in music circles as swaraakshara. The usage of phrases like "Ma Ni Da Ni", "Ma Da Ni Sa+ Da", "Ga Sa Da", "Ma Ni Da" is predominantly seen utilized in many compositions that amply identifies the genetic code of the raagam. By virtue of its definition, HindoLam offers a panoramic scope for raagam aalaapanai where the musician gets to construct pleasing patterns by landing on each swaram and weaving intricate motifs around it as one traverses its scale.
The plenteous productions on HindoLam are ample proof to its prodigious popularity among the populace. In addition to the Carnatic compositions mentioned above, HindoLam has been adeptly handled in myriad of compositions such as Neerajaakshi Kaamaatchi, Sarasvati Vidhi yuvati ( Muthuswamy Dheekshitar ), GaruDa gamana, Deva devam, KonDalalo Nelakonna ( Annamaacharya ), Yaare Rangana ( Purandaradaasar ), Sadaanandamayi – the sixth NavaavarNa krithi (OotthukaaDu VenkaTa Subbaiyer), Nambi KeTTavar Evaraiya, Maa RamaNan, Sivanai Ninanindavar ( Paapanaasam Sivan ), Puraaraataye Namo, Thyagaraja Sadguru ( Harikeshanallur Mutthiah Bhagavatar ), KaruNalaya nidhiye ( Vedanayakam Pillai ), Maamavatu Shri Sarasvati ( Mysore Vasudevaachar ), Bajare Gopaalam ( Sadaashiva Bhramhendral ), Om Namah Shivaaya ( SwarNa Venkatesha Dheekshitar ), Maargam KaaTTiDuvaai ( Ambujam Krishna ), Chintayaami Jagadamba ( Jayachaamaraaja WoDeyar ), Raamanukku Mannan muDi ( AruNaachala Kavi ) and surely many more. The highly debated composition of Thyagaraja - Manasuloni marmamu has been heard performed in HindoLam as well as the Chatushruti Daivatam version called Shudda Hindolam or currently Varamu. I personally have composed a krithi – MahagaNapati, Marai PoTrum Mudalvone on the supreme Lord MahagaNapati.
The music directors from the tinsel world have quite a handful of numbers tuned based on HindoLam. Some of the oldies include Azhaikkaade ( MaNaalane Mangaiyin Bhaagyam ), Ennai viTTu ODi Poga MuDiyuma ( Kumudam ), en uDal taniyoru ( Haridaas ), kaNgalum kavi paaDude ( ADuttha veeTTu PeN ), Jagam Pugazhum PuNya Kadhai ( Lava Kuchaa ), kaTTikarumbin suvaiyum nee ( AaDipperukku ), Maname Muruganin Mayil Vaahanam ( MoTaar Sundaram Pillai ), Mazhai koDukkum koDaiyum ( KarNan ), Naane Raadha KaNNa ( IppaDiyum Oru PeN ) to name some. ILayaraaja has few of them of his own namely Shreedevi En Vaazhvil ( ILamai Kolam ), Om Namah Shivaayaa ( Salangai Oli ), Siru pon maNi Asaiyum ( KallukkuL eeram ), Darisanam KiDaikkaadaa ( Alaigal Oaivadillai ). The hindustani counterpart of HindoLam called Maalkhauns is said to have been derived from an ancient paN composition called MaaLava Kaushikam. The melodic excellence of HindoLam and the intrinsic sobriety it renders to the ambience have proven beyond doubt that it is here to stay for aeons to come and inspire musicians around the world to nurture its unique stature in society. It would suffice to say thus: “anDrum inDrum enDrum ezhilaai inidaai eLidaai isaiyil iNaiyum (H)indoLam” -Gopal Venkatraman
Pentatonic Raagam 4 – Suddha Saaveri – the serene
In the process of writing this column, I was amused to realize that the pentatonic raagams, in fact resemble the Pancha PanDavas of the Mahabharataa. Though the pentatonic raagams’ alikeness to the PanDavas are coincidental and deftly concocted, the parallelism seems prevalent in the twins Nakula - Sahadeva and the pentatonic twins Suddha Saaveri - Suddha Dhanyasi. The twin raagams Suddha Saaveri and Suddha Dhanyaasi are like the twin peas in a pentatonic pod and so are the PanDava twins.
The fourth pentatonic raagam Suddha Saaveri prances along rather playfully into the prime precincts of pentatonic suburbia. Belonging to the AuDava-AuDava raagam fraternity, Suddha Saaveri is adorned by S R2 M1 P D2 S+ in the AarohaNam ( ascent ) and S+ D2 P M1 R2 S in the AvarohaNam ( descent ). The scale of Suddha Saaveri is arrived at by performing a tonic up-shift ( Shruti Bedam ) of one note to the scale of HindoLam. In the same lines, the scale of Suddha Saaveri can also be acquired by performing a two note up-shift to that of Madhyamaavati or a three note up-shift to that of Mohanam. Being the janya (child ) raagam of the 29th Melakarthaa raagam Dheera ShankaraabharaNam, Suddha Saaveri inherits it’s blissful and mirthful demeanor.
Conceivably, the serene and atmospheric aura cast by Suddha Saaveri has beckoned the best of Carnatic music composers of yore to architect bewitchingly divine ballads that have endured to stand the test of time. Saint Thyagaraja and Harikeshanallur Mutthiah Bhagavatar have composed a plethora of songs in Suddha Saaveri. Eminent and illustrious treatises on Suddha Saaveri include Aanalekara ( Geetam, Purandara Daasar ), DhaariNi Telusu KonTi, KaalaharaNa, LakshaNamulu gala, Neekevari bodhana, Orula Naadhuko ( Thyagaraja ), Ranjita Kavi Kunjara ( KoTeeswara Iyer ), Shankara Gangaadhara, Shri Mahaabala Shaila Vaasini, Shreemat Simhaasaneshwari, Himagiri Tanaye ( Harikeshanallur Mutthiah Bhagavatar ), Viduruni Vinda Vijyeebhavaa ( Annamaacharya ), to name some. One of the other Carnatic Music Trinities, Muthuswami Dhikshitar composed several songs in the same scale as Suddha Saaveri but called it Devakriya. His compositions, Maduraamba samrakshatu maam, Lalitaambikaam Chintayaamyaham, Shri Guruguha, Shri VaTukanaatha, Sandhyaa Deveem are attributed to Devakriya, according to the Dhikshitar school. However, there was also a raagam called KarnaTaka Suddha Saaveri which is the janya (child) raagam of the 1st Melakartha raagam, Kanakaangi, with a scale of S R1 M1 P D1 S+ as the AarohaNam and the the avarohaNam as S+ D1 P M1 R1 S. The Hindustani music does proudly boast of the raaga called Durga which has the same scale as Suddha Saaveri. It is said to incite the emotions of Veera ( Valor) and appropriate to be performed at night.
Music directors of tamil movies have also been assiduously attracted and enthralled by the musical disposition of Suddha saaveri that they have produced quite a few songs based on it. ILayaraaja has been so mesmerized by the beauty of this raagam that he has scored quite a few numbers based on it. The following are ILayaraaja’s compositions: MalargaLil aaDum ILamai ( KalyaNaraman ), Kaadal Mayakkam ( Pudumai PeNN ), Kovil maNi Oasai ( Kizhakke Pogum rayil ), maNamagaLe ( Devar magan ), Raadha Raadha Nee Engey ( MeenDum Kokilaa ), Ore Jeevan OnDre Ullam ( Neeyaa – partially ). Other composers that have tuned songs based on Suddha Saaveri include numbers like Seetaiye ( Sivakavi ), reTTaikkiLigaL ( Ore oru gramattile ), taamta deemta aaDum ( Pagalil Ore Iravu ) and VaaDikkai Marandadum eno ( Kalyana Parisu ) to name a few I have observed.
Music, over the years has evolved and undergone phenomenal changes in the competent and experienced hands of avant-garde musicians that employed empirical and innovative modus operandi to achieve a sizeable degree of distinction in their journey towards a symphonious Shangri-la and we all as connoisseurs of the fine art have a moral responsibility to make sure it is accomplished.
- Gopal Venkatraman, Troy, MI.
Pentatonic Raagam 5 – Suddha Dhanyasi, the sublime
Treading along the environs of pentatonic promenades, we arrive rather zealously at the scene of the sublime Suddha Dhanyasi. The ripple effect achieved by perfoming a tonic shift in turn to each one of Mohanam, Madhyamavati, Hindolam and Suddha Saaveri have brought us eventually to this raagam, Suddha Dhanyasi, a janya ( child ) raagam of the time-honored class of Karaharapriya. The S N2 P M1 G2 S. The scale ( individual notes ) of Suddha Dhanyasi is attained by performing a upward tonic shift ( Shruti Bedam ) of a single note to that of Suddha Saaveri, two notes to that of HindoLam, three notes to that of Madhyamavati and four notes to that of Mohanam. The aadhara shaDjam ( reference sa ) of Suddha Dhanyasi corresponds to the Da of Mohanam, Pa of Madhyamaavati, Ma of HindoLam and the Ri of Suddha Saaveri. In other words you can sing the scale of Suddha Dhanyasi by retaining its Sa as the Da of Mohanam, the Pa of Madhyamaavati, the Ma of Hindolam or the Ga of Suddha Saaveri and traversing their respective scales with the note name changes. I am sure it is not surprising to note that performing a upward tonic shift to the scale of Suddha Dhanyasi yields the scale of Mohanam. Such is the cyclical tonic structural nature of this family of pentatonic raagams.
The excellence of CarnaTic music has indeed been enhanced and embellished by such raagams like Suddha Dhanyasi and the like over the centuries. Esteemed CarnaTic music composers have been attracted to the knockout luminosity of this raagam that they have engaged their think tanks to produce works in the likes of SubramaNyena Rakshitoham, Sri Paarthasaarathe ( Muthuswami Dheekshitar ), Hima giri Tanaye, BherunDaambe, Kaalaateetaaya, Shri Raajamaatangi – taana varNam ( Harikeshanallur Mutthaiya Bhagavatar ), Bhaavamulona ( Annamaachaarya ), Khelati piNDhanDe ( Sadaasiva Bhramendrar ), NaryaNa Ninna, NoDuve KaNNu ( Purandara Daasar ), Sarvam Samasrayeham ( TuLaseevanam ), Sundari Sadaa ( Kovoor Veeraraaghava Sharma ).
The popularity of Suddha Dhanyasi in film music is pretty evident in the sheer number of compositions based on this raagam. Here are some of the productions based on Suddha Dhanyasi from yester years: KaNgal Engey ( Karnan ), Deviyar Iruvar Muruganukku ( Kalikkoyil ), Neeye enakku enDrum nigaraanavan ( Bale Pandiya ), thoTTaal poo malarum ( PadagoTTi ). ILayaraja has composed a multitude of his songs based on Suddha Dhanyasi. I wish to enlist some of them here: Vizhiyil Vizhundu idayam nuzhaindu ( AlaigaL Oivadillai ), Siru PonmaNi ( KallukkuL Eeram ), Raagavane RamaNaa ( ILamaikkaalangaL ), Pudiya Poovidu ( thendrale ennai Thodu ), PoonthaLiraaDa ( panneer pushpangal ), Poomaali Oru Paavai Aagumaa ( Thangamagan ), Poojaikkettha poovidu ( needaana andakkuyil ), punjai unDu nanjai unDu ( Unnaal muDiyum Thambi ), namma ooru singaari ( ninaitthaale inikkum ), nadiyoram naaNal onDru ( annai oar aalayam ), maanjolai kiLi daano ( Kizhakke pogum rayil, partially ), chinna chinna vaNNa kuyil ( mouna raagam ), thenaruviyil ( aagaaya gangai ) to name barely a few.
The pentatonic raagams ( AuDava-AuDava, 5 note–5 Note ) in this family may at first glance seem that the individual notes have been picked at random and strung en masse to constitute the raagam but a conscientious examination of the pentatonic raagam structure will evince the mathematical and musical profundity of this concept.
I was so intrigued by the brain waves initiated by this pentatonic intellection, I am presently working on penning the lyrics and composing a raagamaalika number woven with this family of pentatonic raagams, to be premiered at an upcoming show. With the omnipotent God’s infinite grace and all your best wishes, I believe I would be able to accomplish this.
I am not sure how much this column inspired you in comprehending the greatness of CarnaTic music in general and the profound influence of pentatonic raagams to world music in particular but I absolutely enjoyed writing this column and acknowledge your incessant support and encouragement in keeping aglow my zest for music.
I believe all CarnaTic music rasikaas and each one of you reading this column have a life long responsibility to carry on and nurture the tradition of this form of music and make sure it soars in its popularity and emerge triumphant as the supreme pioneer of world music. - Gopal Venkatraman, Troy, MI.
Review of Sujatha Srinivasan's Dance Recital at Cleveland Thyagaraja Aradhana April 16 2006.
Fanfare of tradition, culture and sentiments
Every year beginning with Good Friday, the connoisseurs of Carnatic music and dance spring forward and congregate at the Saint Thyagaraja Aradhana event spectacular in Cleveland,OH, quite adeptly hosted by only a handful of passion driven, motivated and competent volunteers of the Aradhana Committee and the indigenous inspired members of Bhairavi Fine Arts.
Besides the extensive array of concerts presented by highly accomplished maestro-marvels from Madras music environs, Bharatanatyam, a close artistic sibling of Carnatic music, has been seen to materialize as a segment of the program line-up.
The Waetjen Recital Hall at the Cleveland State University in Downtown Cleveland where the events are held during the first weekend, has launched quite a few music and dance artistes of high esteem over the years. Perhaps the organizers concurred that it was time to stage one of their own pride of the community and their wishful thinking actualized this year.
The Cleveland Aradhana limelight having been adorned by Chennai’s classical dance stalwarts like Dr. Vyjayanthimala Bali, Dr. Padma Subramanian, Prof. C. V. Chandrasekhar and Padmashri Alarmel Valli in the past, this year’s artiste had an acclivous assignment to ascend to such a fraternity of artistes and she accomplished that with great finesse. The Bharatanatyam dance recital presented with exceptional élan by Smt. Sujatha Srinivasan on Sunday, 16th April 2006 saw quite a few delighted cognoscenti in the audience put their hands together in affirmation.
Following the initial invocation number in gambheera naattai in sankeerna naDai, Sujatha performed AaDamoDi Galade Ramaiyya in chaarukeshi in which she portrays how Rama is indifferent to the narrator, Thyagaraja’s, words of devotion, how he even treated his own good friend Aanjaneya in the same way, and how his frail self is no match for the powerful Hanuman. Sujatha’s portrayal of Thyagaraja’s passionate pleas was an excellent definition of suggestive abhinaya -- tender and convincing, coaxing the audience into understanding the great composer’s deep emotional plight.
Next, Sujatha presented the very traditional Daanike varnam set in thoDi raagam composed by Thanjavur Shivanandam. She depicted the dhuti bhava of the sakhi, as narrator of the piece, playing a match-maker and describing to the great historical King Shivaji, how her friend is the best possible bride for the great MaraaTa ruler. The complex aDavus strung together with solid traditional unencumbered technique to form the jatis in an effortless rendition. The training that she received under illustrious gurus and the years of in-depth research and teaching have proven both inspiring and amply worthwhile.
The 19th century composer Kavi Kunjara Bharati’s Ivan Yaaro in kaamboji raagam was a shringaara rasa delineation of the entranced nayaki’s yearning to identify the image of a handsome, eminent dignitary in a courtly cavalcade whom she wishes is her beloved Lord Vishnu.
Varugalaamo composed by Gopalakrishna Bharati in maanji raagam was quite a tear-jerker. Her characterization of the devout but irresolute Nandanar, oppressed by a misanthropic society, whose only longing desire is to get one transitory glimpse of his favorite deity Lord Shiva, was very touching and transported us to an elevated realm of spirituality.
Shankara Shri giri in hamsanandi composed by Swati Thirunal was a treat for the senses with the majestic dance of Lord Shiva. It is to be proudly acclaimed that Swati Thirunal has the innate ability to produce numbers congruous to the ardor of the scene. Sujatha’s plethora of poses were impeccable and brought before our very eyes the brilliant spectacle of the Lord of Dance dancing in his golden Chittasabha as his domicile in Chidambaram.
Balamurali’s thillana in kadanakuduhalam was an appropriate finale to the evening’s show. Sujatha was very much at ease with the joyous and expeditious number such as this as with the other items in the recital, which perceptibly exhibited her consummate panorama of balletic stagecraft.
The orchestra consisting of Asha Ramesh who rendered all her songs with soulful bhaavam and remarkable pronunciation, Akhila Raghavan on the naTTuvaangam with her lucid and intelligible catenation of rhythmic syllables admirably verbalized as jatis, Janardhan Rao on the mridangam who exercised his digital dexterity to offer phenomenal rhythmic support, Thyagarajan with his awesome phrases, facile on the bamboo flute and Jayshankar with his seamless blend-in were all magical and aggrandized the stratum of the show that night.
Another significant highlight of the program was how Sujatha’s daughter Shriya’s presentment of the show as the MC with her meticulous diction and the flawless description of each item, all brought in with incredible verve.
The show overall was an outstanding Easter treat that resurrected and redeemed our souls from the mundane world of monotony. It would be befitting to comment on the entertaining evening as one well spent and in summary, I wish to borrow and re-quote from one of the the greatest works of literature in tamil, ThirukkuraL, thus:
Kuzhal Inidu Yaazh Inidu enbar nam
Sujatha’vin Bharatanaatyam paaraadavar!
-Gopal Venkatraman, Troy,MI.