Expressing love through classical compositions

K.S. Vishnudev and N.J. Nandini presented a concert themed on Sringara for Bharat Sangeet Utsav 2024.
| Photo Credit: SRINATH M

Thematic presentations on one rasa are quite uncommon on the Carnatic stage. K.S. Vishnudev and N.J. Nandini’s joint artistic effort for Bharat Sangeet Utsav 2024 explored the queen of all rasas — Sringara. Their concert on ‘Romance in Carnatic Compositions’ consisted of an intriguing set of songs often not heard. The presentation was wholesome in terms of the variety of compositions, which the two singers shared efficiently. Vittal Rangan, Vijay Natesan and N. Guru Prasad handled the violin, mridangam and the ghatam respectively.

Not giving much importance to the standard concert format, the artistes explored the theme in their own ditinct way. They began with Dharmapuri Subbaraya Iyer’s ‘Smara sundaranguni’. This Javali, even though tuned in Paras, is usually presented with a characteristic pratimadhyamam alien note that is used sparingly to create a graceful melodic deviation. The duo quite intelligently centred some of their kalpanaswaras around the pratimadhyamam.

Jayadeva’s Ashtapadis are perfect examples of Sringara and are known for their tasteful exploration of this rasa. Nandini and Vishnudev presented an Ashtapadi each — ‘Yahi madhava yahi keshava’ in Hindolam and ‘Vadasi yadi kinchidapi’ in Mukhari. The first Ashtapadi explores the mood of Radha as a Khandita nayika, who chastises her lover Krishna for his disloyalty. The second describes Krishna trying to pacify an angry Radha since he is unable to bear the separation. The preceding shlokas for the compositions were sung as viruthams.

Vishnudev and Nandini accompanied by Vittal Rangan (violin), Vijay Natesan (mridangam) and N. Guruprasad (ghatam).
| Photo Credit:
Srinath M

Well-coordinated presentation

‘Shringarinchukoni’ from Tyagaraja’s ‘Nauka Charitram’ talks about the gopis dressing up to go to the Yamuna with Krishna. Nandini and Vishnudev sang this together before rendering an expansive Khamas alapana. Instead of taking turns to sing the alapana, they presented the phrases alternately, exploring the raga in a well-coordinated and eloquent way. Vittal also presented some interesting ideas in his responses. The Javali ‘Marulu konnadira’ by Poochi Srinivasa Iyengar was taken up as the main piece with engaging niraval and kalpanaswaras at the charanam line ‘Vanaja netrudau shrinivasa nayaka’. The percussionists provided pleasant and appropriate support throughout the concert, particularly impressive was their enthusiastic participation in the improvisatory section of the main piece.

Annamacharya’s composition ‘Paluku tenela talli’, which depicts the union of the celestial couple Venkatesa and Alamelu Manga, was sung by Vishnudev. Set in Abheri, it is often performed in Kuchipudi recitals. ‘Chentar sayaka roopa’, a poem composed by Iraiyaman Thampi and tuned by Chertala R Gopalan Nair, was sung by Nandini. The recital concluded with the javali ‘Sakhi prana’ in Chenchurutti. The short concert was enjoyable for the way it unravelled the nuances of Sringara through songs in different languages and ragas.