Overall, Prarthana Sai Narasimhan and R. Kashyap Mahesh presented 21 compositions in his two-hour long concert. It highlighted the richness of Tamil literature in Carnatic music, yet did not explore its deeper musical possibilities. Never serving dull moments, but neither keen to push the envelope, both the singers tried to exude the charm of conservatism while enthralling the audience at Chithirai Isai Vizha 2024, being run under the aegis of Mudhra in collaboration with Nalli.

However, in consecutive weekends of a month-long celebration of Tamil compositions, Prayut and Kashyap introduced fresh elements. Covering works by people from the fifth-eighth century to the last decade, his Kucheris underlined the continuing contribution of the ancient language to South Indian classical music. whether it be divine arrangement By the Azhwars, whose verses are one and a half millenniums old, or a varnam by the scholar TK Govinda Rao (1929–2011), the pieces cemented a continuous Tamil flow in the stream.

Actually, Prarthana started her performance with TKG’s ‘Anai Mugane’ in Sarasanghi. While this 27th basic scale rarely serves as a starter, the singer ended the piece with her own solfa sequences beyond the set chittasvaras. Violinist Shertalai Shivakumar could not easily listen to this improvised performance, while K. The track was composed quite well by Arun Prakash (Mridangam) and Sai Subramaniam (Morsing).

As if a hangover from TKG’s leisurely Musiri school, the upcoming Saveri composition picked up a pace that was less than usual. ‘Muruga Muruga’ (Periyasamy Thooran) also concludes with Kalpanaswara, arising directly from the second movement. Papanasam Sivan’s songs were presented one after the other – ‘Kumaranthaz’ (Yadukulakamboji) and ‘Senthil Andavan’ (Karaharpriya). The second was the sub-main, bracketed by the frilled alapana and post-niraval swaraprastara, ending with a zigzag encapsulating the spirit of the melakarta raga.

Gopalkrishna Bharatiyar’s ‘Enneramam’ (Devgandhari) was a filler before the 50-minute main package in Mohanam. Shivakumar’s solo response was proportionate to the singer’s five-minute alapana, while Arun Prakash’s measured beats delivered the ‘Kapaali’ (Papanasam) to Anupallavi, who was guiding a happy Sai Subramaniam. The vocal sequences were full of the characteristic effervescence of the raga, full of kanakku. Geometry is also included in the following Tani Avtaranam.

Surya then presented a welcome raga with ‘Narahari Vesha’ (Rukmini Ramani). Tarangambadi Panchanada Iyer’s ‘Arabhimanam Malika’ recited a dozen ragas before Papanasam’s ‘Ennatavam’ in Kapi. ‘Vandinam Muralum’ was the swansong in Thodi (Thondaradippodi Azhwar).

common threads

Pratanna, trained by Mani Krishnaswami and Chingleput Ranganathan, resorts to a melodious sound without being so strong. The resulting non-aggression, incidentally, is a trait he shares with Kashyap, who has been molded primarily under the renowned TV Gopalakrishnan. Both singers showed a penchant for patterned imagination, never overdoing it.

Kashyap Mahesh. , Photo Credit: Special Arrangement

Kashyap incorporated Kalpanaswara in the first four compositions of his singing. Starting with a stanza in Nattai, the singer started with Bharatiyar’s ‘Ganapathy Thalai’ in Aadi taala. KR Ganesh on the mridangam initially played beats and rolls which did not sync very well with the song, causing Madipakkam Murali (Ghatam) to be cautious in his interventions. VV Srinivasa Rao was quite restrained on the violin and was hardly trying to score any points.

If Nattai helps a concert start early, it sets the pace for Hamasanadam. Danadapani Desikar’s ‘Padavendum’ mostly travels along the upper limits of the pentatonic raga, which goes well with the overall versatility of the composer. The geometric progression in the Rupaka Taal Swaraprastha played well – as well as in the successful Mishra Chapu during the rendition of ‘Kadaikan’ by Ramaswamy Sivan.

Kashyap Mahesh with VV Srinivasa Rao (violin), KR Ganesh (Mridangam) and Madipakkam Murali (Ghatam). , Photo Credit: Special Arrangement

With the heartfelt assistance of the violinist, the first elaborate alapan came in Purvakalyani. The tune of the evening was underlined with traditional lines, followed by ‘Marukkulaviya’, a Tiruppugazh by Arunagirinathar. This piece also started in a Niraval, around ‘Tirukuravadi Nizhal’. It was steeped in devotional enthusiasm; The soundstage was also the same. The brief concert that followed was not so organized.

Marimutha Pillai’s ‘Thillai Chidambaram’ (Kappinarayani) marked its beginning piece de resistance – In Madhyamavati. The 10-minute long alpanas showcased the restraint of the piece: ‘Saravanabhava Mukhane’ (Papanasam Sivan). The swaraprastha was also assured, and so was much of the taani avartanam in the eight-beat etc.

A Viruttam, which starts with ‘Kodayile’, moves on to Pantuvarali, Bilahari, Kapi, Nilambari and Sri before settling for Jhonpuri with ‘Andavan Darisaname’ (Muthiah Bhagavathar). At the end of the phag Guru Surajananda’s ‘Muruganin Marupeyar’ (Bihaag) and Maharajapuram Santhanam’s Thillana in Mishra Sivaranjani and ‘Mannupugazh’ (Ragamalika by Kulasekhar Azhwar from Divya Prabandham) were presented.