Melodious homage
HAREESH BAL
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Shyama Sastri Day highlighted the contributions of the genius who is one among the Trinity in Carnatic music.
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Sahrudaya Vedi organised a `Shyama Sastri Day' at Kalikotta Palace in Thirupunithura, to pay tributes to this genius. S. Anujan, one of the organisers, said that Sastri's use of complex talas and compositions in `chowka' (very slow tempo) did not help in popularising his compositions. He used Sanskrit to eulogise the beautiful form of Amba Kamakshi, and switched to Telugu wherever emotion, yearning and bhakti took over. His knowledge and ear for music remain unparalleled.
The talk was followed by a veena recital by Padmam S. Thampuran who began her programme with `Amba Kamakshi,' a swarajathi in Yadukula Kamboji raga. Another composition in Sri raga `Karunajoodu' set to Mishra chapu rounded off the concert. Vypeen Satheesh accompanied on the mridangam.
Vocal concert
The second performance was by Thamarakad Govindan Namboodiri with an effective pakkam from Thrissur Jayaram on the mridangam and Nedumangad Sivanandan on the violin.
Although the vocalist said that he would only throw light on the ragas and songs of Sastri instead of a full-fledged concert, he gave glimpses of the raga bhava in each of the compositions. `Devi brova' in Chintamani raga, with which he began his concert, is supposed to have been composed for a contest between Sastri and Bobbili Kesavayya.
`Ninnuvina gamari' in Poorvikalyani was followed by `Ninnu vina mariglada' in Reethgowla raga. A short flash of Ahiri was supported by the popular kriti `Mayamma' sung in praise of Bangaru Kamakshi at Tanjore. The kriti stands out for its swara sahitya and swaraksharas.
Emphasis on diction
After `vilomam' in Mishra chappu was rendered, the Bhairavi swarajathi `Kamakshi amba' was sung with due emphasis on diction and laya. Shastri is considered the architect of the musical form `Swarajathi.' In an attempt to increase the tempo, `Sankari sankuru Chandramukhi' in Saveri raga was sung at a fast pace, which did not suit the song. A Madhyamavati alaapana with structured sancharas was followed by `Palintsu Kamakshi Paavani.' The gamakas in the sahitya were sung with lucidity. The concerts were a befitting way to honour Sastri.
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