A vibrant portrait of ragas by Sikkil Gurucharan

A vibrant portrait of ragas by Sikkil Gurucharan
A vibrant portrait of ragas by Sikkil Gurucharan

Sikkil Gurucharan rendering carnatic vocal at Karthik Fine Arts in Chennai 2022.

Sikkil Gurucharan rendering carnatic vocal at Karthik Fine Arts in Chennai 2022.
| Photo Credit: RAGHUNATHAN S.R.

Smart alternative of ragas and kritis, cautious distribution of time, protecting the raga treatises and swarakalpana below management and avoiding over indulgence — all these contribute to the success of a live performance. Sikkil C. Gurucharan appears to have understood these features whereas framing his live performance at Kartik Fine Arts.

Two ragas, Lalitha and Shanmukhapriya, have been chosen for detailed examine, with catchy and fascinating fillers included on the proper intersections.

With his vocal cords in high quality type, Gurucharan opened the efficiency with the ghana raga Adi tala varnam, ‘Chalamela jesevura’ by Vinjamoori Varadaraja Iyengar. The swaras and sahityam have been fantastically intertwined, beginning with Nattai, adopted by Gowla, Arabhi, and Varali. Tyagaraja’s ‘Chalamelara’ in Marga Hindolam, with a number of rounds of fascinating swara strings, got here subsequent.

Gurucharan introduced a vibrant portrait of raga Lalitha, with phrases and brigas in full measure. The raga’s splendour may very well be additional felt in his rendition of Syama Sastri’s ‘Nannu brovu lalitha’. The partaking swarakalpana section was set on ‘Sumeru madya’, and it was rounded off with madhyama-centric notes.

Sikkil Gurucharan with L. Ramakrishnan on the violin, Delhi Sairam on the mridangam and B.S. Purushotham on the kanjira during his concert at Karthik Fine Arts music festival 2022, held in

Sikkil Gurucharan with L. Ramakrishnan on the violin, Delhi Sairam on the mridangam and B.S. Purushotham on the kanjira throughout his live performance at Karthik Fine Arts music pageant 2022, held in
| Photo Credit:
RAGHUNATHAN S.R.

A shock addition of Bharathidasan’s ‘Vennilavum vaanum pola’ in raga Jayanthasena, set to music by M.M. Dandapani Desikar, was a neat rendition (this was featured within the 1950 movie Kalyanam Panniyum Brahmachari , and was sung by Radha-Jayalakshmi).

The central attraction was Shanmukhapriya, which was executed in nice element. The innately lovely raga permits a clever musician to improvise with numerous permutation and mixture of phrases to discover the melody. With his ingenuity, Gurucharan traversed each section in his alapana, and delved deep into Shanmukhapriya. To match the grandeur of the alapana, he chosen ‘Ekamresa nayakim’ by Muthuswami Dikshitar. Gurucharan’s exhaustive niraval and swaras have been set on ‘Kanchi nagara nivasinim’. Torrents of swaras, centred on nishadam, flowed impressively.

The finale featured ‘Karthikeyanai kannara’ in Kapi by Mayuram Viswanatha Sastri, and a thillana in Dwijavanti by Thanjavur Kalyanaraman.

Excellent staff work elevates the success of a live performance. L. Ramakrishnan’s clever and revolutionary responses within the Lalitha and Shanmukhapriya raga essays and swara sallies drew as a lot appreciation and applause because the vocalist’s renditions. Delhi Sairam on the mridangam and B.S. Purushotham on the kanjira added further shine to the present, with their interestingly-designed, energetic rhythmic patterns.

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