Harismarane Maado – Ranjani & Gayathri

Attending a thematic concert and going to cuisine are the same – menu caters to a particular cuisine and is limited, and expectations are set and taste buds tuned and tailored. But does that mean there will be no quality, taste, variety and surprise? Will connoisseurs go home hungry and insatiable and will the engagement be unappetizing?

Not necessary. Thematic concerts are a rarity in the Mecca of Classical Music. We have been tuned to a full course traditional meal on a banana leaf, but does it doesn't mean we detest other cuisines? Well it all depends on the theme, presentation, content and quality.

Subhashri announced at the beginning of the concert that it was two voices and one soul seated on the stage. As the curtains went up we were waiting to validate the tall claim. "Harismaranai" was the theme given to the young, and vibrant violinist turned vocalist Ranjani and Gayathri.

The name Hari is like honey, naturally sweet and doesn't need any additives to make it sweet, but nevertheless you need a vehicle to consume honey.

Durbar, a relatively recent origin was elevated to an exalted status by the Trinity, is seldom featured in the concerts today. Is it because the raga cannot be expanded and elaborated or it needs deft and crisp handling? There are more than 25 krithis in this raga, but only a few are known and popular. The duo presented the brisk, refreshing and majestic Tana varnam, Chalamela (only 2 tana varnams are there in this raga) composed by Thirvatriyur Thayagaraja. The madhyama kalapramaanam and swara pharses was executed with precision.

Can Markazhi festival ever be complete without Thirupaavai? Andal's Ongiulgalandha paasuram in Aarabhi was rendered with multiple repetitions of the line "Vaanga kudai niraikkum vallal perum pasukkal". Kalpanaswaram done for this short piece was delectable and different.When the sisters picked up Todi they plunged right in the deep without any dilly dallying or beating around the bush. Todi is one raga that can be expanded and sung for hours, but given a 2 hour time bracket they highlighted the key phrases and bringing out the essence of the raga. Rather than recanting the vocalist, HN Bhaskar displayed the raga bhava with discipline and mettle. Thyagaraja's Rajuvedala jutha murari from Sri Ranga Pancharatnam was apt for the occasion. Sriranga ksetra mahatmyam and beauty was rightly expressed while rendering the line "Kaaveri theeramamu nannu paavananamu rangapuri". The same twist, turn and encircling of the town by the meandering river was brought during the rendition. Lines Kasturi Gantha in the charanam was really fragrant and kalapanaswarams by Gayathri was enjoyable. Among the sister's, Gayathri's manodharam was impeccable and mature. Arun Prakash on the Mridhangam and Kumar on Ghatam added beauty to the concert by emphasizing key phrases and words in the sahityam without overpowering – anusaranayana vasippu!

After describing Sriranga kshetram the duo proceeded to describe the beauty of Ranganatha. Dikshithar's masterpiece Ranganayakam in Nayaki was rendered in slow tempo describing his anga lakshanam and building on the elements of bhakthi and sowkyam. These lines in the charanam are proof to how Trinity attained mukthi through music - Raaghava-araadhanam Maamaka Videha Mukti Saadhanam. Swati Thirunaal has enjoyed Hari as much as or more than Trinity. Kalyani raga krithi Pankajalochana was fresh, pure and rendered in agmark PSN's paatanthiram. Neraval at Brindavanaantha kruthu brought out the beauty and wilderness of both the raga and Brindavan. Justice was done in rendition to make the last lines Vividha suka vihara truly appropriate and befitting.

Periyaazhwar is always known for his lyrics loaded with bakthi and gnana. Aanathuselvathu in the majestic Shanmukhapriya, Kambamadha yaanai, and Chediyaya valvingaigal in kaarunyam effusing Hamsanandi can even turn an atheist to do Harismarana. Srinivasa Thiruvenkata could have been rendered at a slower pace and the bakthi bhava in the paasuram could have been continued.

Can there be Harismarana without Purandaradasa? Harismaraney maado niranthara paragathikku in Yamuna Kalyani doesn't need any elaboration and explanation.

Be it Trinity or Purandaradasa or Tukkaram our composers have made mukthi marga (Salvation) so easy. Abhang Bolo va vittala in raga Batyar tuned by the artist was enthralling and explicit.

My only wish at the end of the concert, Harismarane could have lasted longer. Gayathri's vocal power created most of the fanfare in the auditorium. The two voices blended perfectly in sruthi, diction was clear, and even a layman could notate the swarams, write down the sahityam from their rendition and attain salvation just listening to the concert.