Thematic concerts have certain conveniences and surely a few constraints too. Sathur Sisters - Bhuvana and Lalitha - had given a competent as well as an engaging performance for Saraswati Vaggeyakka Trust at the Narada Gana Sabha Mini Hall with focus on Pre-Trinity and Trinity period Tamil compositions. The concert might not be termed as vibrant but definitely inspiring. From the period Telugu and Sanskrit compositions were ruling, picking exclusive Tamil compositions is, indeed, a tacky task.
The siblings started the concert with Periyazhwar Divyaprabandham ‘Pallandu Pallandu’ in Gambhira Nattai which certainly provided a stately start. Vedanayakam Pillai’s once popular ‘Dhayai Puriya Innum Thamadhama’ was a pleasing and breezy number in Malayamarutham that came up next. A few rounds of swarakalpana adorned the pallavi. Equally endearing Anai Ayya’s Dhanyasi kriti ‘Paruvam Parka Nyayama’ followed with complete bhava quotient. A brisk number of Oothukkadu Venkatakavi’s ‘Kannai Thirandhu’ in Bilahari came as a filler.
Lalitha ventured on Rishabapriya for elaboration, another slightly delicate indulgence as it requires a strong musical base. She intelligently spread out the raga with groupings of subtle and strong phrases. A Nammazhwar Pasuram ‘Akalakillaen’ was presented with swara strings shared neatly by both.
After Gopalakrishna Bharati’s ‘Thillaithalam Endru’ in Sama, it was Bhuvana’s turn to elucidate Kiravani. The raga treatise was replete with many elegant motifs lined up gracefully highlighting the sentimental tenor of the raga. ‘Innamum Sandhega Padalamo’ of Gopalakrishna Bharati was their offering with niraval on the pallavi in place of the usual ‘Ponnambalamthannil.’ A Thevaram of Gnanasambandar in Nilambari and a ragamalika of Periyazhwar Pasuram were the tail-enders.
The sisters should be lauded for their strict adherence to tradition. Their singing and presentations breathe tradition and sincerity.
The duo could have put a little more effort in choice of songs by including compositions of Marimuthu Pillai (1717-1787), Muthu Thandavar (1525-1625), Ghanam Krishna Iyer (1790-1854) and Kavi Kunjara Bharati (1810-1896).
K.J. Dileep on the violin followed the siblings with earnestness and participated in raga essays and swara exchanges with precision. Ranganathan on the mridangam and Harihara Subramaniam on the ghatam extended able support and a decisive tani avartanam.
