K.S. Vishnudev @ Narada Gana Sabha

A mix of traditional and modern

Vidwan K.S. Vishnudev’s Narada Gana Sabha this Margazhi, with Akkarai Sornalatha, Praveen Sparsh and Chandrasekara Sharma, blended tradition with a contemporary approach.

The overall structure followed a familiar path, opening with a varnam in Kalyani, followed by Kari Kalabhamukham in Saveri, a composition on Lord Ganesa. What brought extra energy to the opening was the varnam being presented in three speeds, chowka, tisram, and mel kalam. This approach kept it lively while staying firmly rooted in classical grammar.

The choice of sub main and main ragas was clearly listener friendly - Charukesi and Reetigaula. The Charukesi alapana stood out for its fresh phrases and led naturally into Swati Tirunal’s Kripaya Palaya. Reetigowla was equally appealing. Akkarai Sornalatha’s opening phrase, especially the distinctive G G, M, immediately drew my attention. The only aspect that felt slightly unfamiliar to me was the kala pramanam of Dwaithamu Sukhama, which came across as faster than what I usually hear. On this day, Vishnudev also chose not to include neraval for these compositions.

Despite an extensive sound check, the nearly full hall felt quite echoey. That said, Vishnudev’s strong range and brisk, free flowing sarva laghu swara passages helped mask this issue to a large extent. The seating arrangement, with the vocalist and violinist at the centre and the percussionists facing each other on either side, worked well. Throughout the concert, Akkarai Sornalatha offered poised and intuitive support, her bowing and tonal finesse lending depth to every melodic turn. Praveen and Chandrasekara Sharma brought a special energy to the percussion, crafting a tani avartana that was both deeply conversational and dynamically engaging.

The overall temperament of the concert remained light, which suited the post main segment beautifully. This segment included Swati Tirunal’s Kanthanodu chennumelle in Neelambari, a ragamalika virutham of Ramalinga Adigal’s verse Petra Thai thanai, followed by Gangadheeshwaram of Guru Surajanandha and Vyasaraja’s Krishna Nee Begane Baaro. The concert concluded with the traditional Pavamana mangalam.

By

VID DEV

(a teacher and student of Carnatic Music)