Memories reigned high at the Music Academy endowment thematic series that began with Vasudevachar’s compositions sung by Sumitra Nitin. Having lived in Bangalore for several years and having studied under guru Neela Ramgopal, learning the songs of Mysore Vasudevachar became a natural extension of Sumitra’s training.
During a post-concert conversation, she said, “I have earlier performed a concert featuring only Mysore composers such as Mysore Sadasiva Rao, Veena Seshanna, Harikesanallur Muthiah Bhagavatar, and Mysore Vasudevachar.”
Vasudevachar composed popular pieces. How can one forget his praise of Vasudeva, ‘Bhukti mukthi pradam Vasudevam Harim’ (the captivating Vasudeva who bestows enjoyment and liberation) in the popular Abheri composition, ‘Bhajare Re Manasa.’
A young Vasudevachar, struck by Patnam Subramania Iyer's virtuosity, wanted to learn from the maestro. Hoping for help, Vasudevachar would wait at Chamundi Hill for Maharaja Chamaraja Wodeyar, who used to visit the temple. Eventually, the Maharajah sent him to Subramania Iyer. Much later, Vasudevachar went on to teach at Kalakshetra.
Sumitra’s performance brought alive memories of his popular piece ‘Brochevarevarura’ (Khamas), most virtuously rendered by the likes of Maharajapuram Viswanatha Iyer.
Sumitra chose lesser-known pieces that revealed the confluence of beautiful sahityam and melodious music in his compositions. While she struck the right note for the occasion, the singer could have heightened the effect with a couple of popular pieces.
Sumitra revealed that ‘Vasudeva Keerthana Manjari’, a book published in 2015 and containing his compositions, has sahitya in English and Sanskrit compiled by Vidwan S. Shankar. Edited by S. Krishnamurthy, grandson of Vasudevachar, it contains 182 notated compositions.
For this concert, the singer said she learnt a few pieces such as the Nalinakanthi varnam with which she began. In the varnam’s chittaswara, Vasudevachar revels in several beautiful ‘sgrm’ phrases typical of Nalinakanthi.
Dance-scholar professor C.V. Chandrasekhar, who was in the audience, recalled how he would sit in Vasudevachar’s classes at Kalakshetra and would be awestruck by his chittaswara compositions. “ I remember him telling us how he had composed a song for the band of the Mysore Maharaja,” smiled Chandrasekhar even as he hummed the tune.
At the concert, in keeping with Vasudevachar’s penchant for unusual ragas, Sumitra sang ‘Gurukripalekha’ (Pushpalatika) embellishing it with kalpana swaras. She followed this with ‘Devi Kamalalaye’ in Garudadhwani, and ‘Sridhara pahi’ in Jayanthasri.
Efficient essays of ragas Kamavardhini and Kambhoji followed after which the vocalist presented the songs ‘Shankari ninne’ and ‘Mari Mari’ respectively. K.J. Dileep's violin accompaniment was melodious, while mridangam support by K.H. Vineeth was appropriate. The concert ended on a lilting javali in Begada and thillana in Surati.
