Saketharaman chose to open his concert in a unique format

S. Saketharaman’s concert for Kartik Fine Arts at Narada Gana Sabha opened on an arresting note with a mallari in Gambhira Nattai — his own composition — set to misra jati Triputa tala. A refreshing departure from the conventional varnam or kriti opening, this established a majestic tone from the outset. He was supported by Kamalakiran Vinjamuri on the violin, Delhi Sairam on the mridangam and Anirudh Athreya on the kanjira. The concluding korvai of the Mallari was handled with synchronicity, the ensemble anticipating every nuance with precision.

The vocalist next presented Muthuswami Dikshitar’s ‘Maragathalingam chinthaye’ in Vasantha, with poise and clean intonation. This was followed by a devotion-laden viruttam of Ramalinga Vallalar, beginning with the evocative lines ‘Petṟa thaai thanai maga marandhaalum’. Saketharaman’s emphasis on ‘Namah Sivayathai nan maravene’ heightened the spiritual tenor before he transitioned to Papanasam Sivan’s ‘Andavane unai nambaninen’ in Shanmukapriya, set to Tisra Eka tala.

Saketharaman accompanied by Kamalakiran Vinjamuri on the violin, Delhi Sairam on the mridangam and Anirudh Athreya on the kanjira.
| Photo Credit:
RAGHUNATHAN S.R.

Young violinist Kamalakiran displayed his characteristic gliding legato, producing fluid, seamless phrases. While Saketharaman’s voice occasionally turned sharp in the upper registers, his rendition remained expressive. Delhi Sairam’s mridangam accompaniment was unhurried and sensitive, relying on well-placed mittu and cappu, often echoing shades of his guru Tiruvarur Bhaktavatsalam, especially when he played some intricate thavil-specific grooves or nadais. Anirudh Athreya complemented him with restraint and aesthetic clarity.

The niraval at ‘Tandavam aadum kunchita karana’ unfolded with the smoothness of an unbroken stream. During the improvisation, Saketharaman evocatively delineated the seven sapta tandavams of Shiva — Ananda, Sandhya, Kalika, Uma, Samhara, Vijaya and Urdhva — employing khanda nadai in the swaras for Samhara Tandavam. Both percussionists showed awareness of the main artiste’s intent, offering support free of unnecessary rhythmic complexity.

A breezy Sama followed, with Tyagaraja’s ‘Santamu lekha sowkiyamu ledhu’, rendered with warmth. To raise the tempo, Saketharaman chose Oothukkadu Venkatakavi’s ‘Neerada sama neela krishna’ in Jayantasri, painting a vivid imagery of Krishna’s rain-cloud-hued complexion.

The main segment of the evening — an expansive exploration of raga Jog — featured a detailed alapana, followed by tanam and a pallavi. The choice of Jog as the central piece was refreshing. Saketharaman’s elaboration was imaginative, while Kamalakiran’s responses were marked by finesse and anticipation. In the ragamalika section, the vocalist traversed Anandabhairavi and Madhuvanti, and the violinist briefly wove in a motif from Lalgudi Jayaraman’s Madhuvanti thillana, drawing spontaneous applause.

The concert concluded with ‘Karpagame’ in Madhyamavati, preceded by a brisk ‘Muruga muruga ena nee soll’ in Hamsanandi, bringing the evening to a satisfying finish.