Just back from Vishakha Hari's concert at the Music Academy. The topic was Ramayana as seen through the Pasurams of the Alwars. Though the narration was based on the Pasurams, the songs were mainly Tyagaraja's kritis. I will try and recall from memory the various songs presented and the context in which it was sung.
The devas implore Lord Vishnu in Vaikuntha to descend on the earth for "dharma samsthaapana". The kriti chosen was "O Rangashayee" in Kambhoji raga. The connect between this song and the context is the line "bhuloka vaikuntham" in the song. It is as if "this place", i.e. Srirangam is Vaikuntha itself.
Rama is born and is lulled to sleep. The kriti presented was "Uyyaalalooga vaiyya" in the raga Neelambari.
Rama "walks" with Vishwamitra to help him out in his austerities and later to Mithila. The kriti presented was "Nannu Palimpa" in raga Mohanam. In the kriti, Rama is presented as "walking" (towards Tyagaraja). The occasion for the kriti was Tyagaraja's daughter's (called Seeta) wedding. It is here that Tyagaraja's disciple Walajapet Venkataramana Bhagavathar presented a painting of Rama to Tyagaraja. And as the disciple walked towards Tyagaraja with the painting, it was as if Rama was walking towards Tyagaraja. Tyagaraja sang "Nannu Palimpa" at this point. This kriti was used to present Rama walking with Vishwamitra.
Jagadaananda kaaraka in Nattai raga- was used to denote "maadhurya bhaava" where the phrase "praana naayaka" comes (as though Seeta would use it for Rama).
Rama leaves his ornaments behind before going to the forest. But his beauty was more enhanced that way. The kriti presented was "kanakana-ruchira" in raga Varaali.
The anguish felt by Dasharatha and Bharata in Rama's absence. It is as if..."what started as vinayaka, ended as a monkey". This example comes in the kriti "evarito ne" in the vivaadi raga Maanavati. The comparison is used to show how the coronation planned for Rama ended in his going to the forest. Apparently, Tyagaraja has chosen vivaadi ragas whenever he wants to convey sadness. This is one such example. (Baagaayanayya in Chandrajyoti raga was sited as another example).
Tyagaraja lost Rama's idol when it was thrown into the river by his brother. The kritis he sang in "viraha" were "Ennalu" (Shuba Pantuvarali raga) and "nee daya raada" (Vasanta bhairavi raga). The sadness in these ragas mirror's Tyagaraja's state of mind (and Dasharatha's too).
Bharata approaches Rama and implores him to return to Ayodhya. Bharata leaves with Rama's padukas. The kriti presented was "sandehamunu" in "Raamapriya" raga, as though the name of the raga goes with the context of Bharata (whom Rama loves).
Rama also has a teasing sense of humor, though normally, we associate it with Krishna. The part chosen was "samayaaniki" (Sadhinchene in Arabhi raga) where all the stanzas are on Krishna (and his sense of timing, in everything, including humor). Tyagaraja moves from Krishna to Rama (in the last stanza) in "Sadhinchene" (as though samayaaniki could apply to Rama too). This part comes when Rama deflects Shurpanakha to Lakshmana with a teasing sense of humor.
Rama meeting Shabari and the moving episode associated with it- "entani ne varnintunu shabari" in Mukhari raga.
Rama meets Sugreeva and has to prove his valor that he can vanquish Vali. Rama sends one arrow that pierces through 7 trees (saala vriksha). The portion used was from "Jagadaananda kaaraka" in Naattai raga where the phrase "saala vidana" comes.
Hanuman meets Seeta and when he comes back, Hanuman sings "kanden seetai" in Bageshri raga to Rama. This song is by Arunachala kavi.
Vibhishana is given protection by Rama though he is Ravana's brother. The kriti rendered was "evvare raamaiyya" in the rare raga "Gangeyabhushani". The Vibhishana episode is described in this song.
Rama pattabhishekam- "Maamava pattabhirama"- Dikshitar's kriti in Manirangu raga.
With this, the concert came to a close. It was enjoyable and informative. Vishakha Hari with her music and narration kept the audience in a spell!
She was ably supported by the violinist, the mridangam vidwan and the ghatam vidwan.
There was so much liveliness, humor and spontaneity in the narration as well as music that was rendered with such bhaava!
The above write-up does not do any justice. It is an attempt to recall as much as I can, after the performance!
No comments:
Post a Comment