Vijay Siva displays the time-tested approach to Carnatic music

Vijay Siv with  L. Ramakrishnan (violin), N.C. Bharadwaj (mridangam) and S. Sunil Kumara (kanjira), and disciple Sanjay Swaminathan performing at the Bharat Sangeet Utsav at Narada Gana Sabha in Chennai
| Photo Credit: SRINATH M

Restraint is the hallmark of refinement, it is said. N. Vijay Siva’s recent concert for Bharat Sangeet Utsav 2024, presented by Carnatica and Sri Parthasarathy Swami Sabha, stood as a testament to this. There were no frills and fancies as the seasoned vocalist treaded the time-tested fairway in his ‘Sampradaya Kutchery’ at Narada Gana Sabha Main Hall, in the company of L. Ramakrishnan (violin), N.C. Bharadwaj (mridangam) and S. Sunil Kumara (kanjira), with his disciple Sanjay Swaminathan lending vocal support.

Vijay Siva’s natural style, embodying the very essence of tradition, was ideally suited to the theme of the evening, and he might not have needed to strain a sinew for this assignment.

His opening piece, Syama Sastri’s ‘Neelayatakshi’ in Paras (Tisra Triputa), provided a solemn and reverential tone to the proceedings. Vijay Siva then took up the sangathi-laden ‘Saketha nagaranatha’ of Mysore Sadasiva Rao in Harikambhoji, set to Rupakam. The opening phrase of the charanam, ‘Raajita amara pala’, is a catchy option for niraval and kalpanaswaras, which Vijay Siva explored to the hilt . 

The concert gained further momentum with a vibrant Lathangi alapana preceding Patnam Subramanya Iyer’s ‘Aparadhamulanniyu,’ enriched with a niraval at the charanam line, ‘Vega nannubrovumani.’ Here, Vijay Siva’s rendition, shimmering with intensity, yet tempered with just the right pace, was thoroughly enchanting.

The singer believes in the Carnatic music sampradaya
| Photo Credit:
M. SRINATH

Bhairavi and Sankarabharanam, unfurled as the main flavours of the recital, were explored through Narayana Thirthar’s Tarangam ‘Govinda ghataya’ and Tyagaraja’s ‘Manasu swaadheenamaina’ respectively. In between, an evocative rendition of the virutham ‘Panippagai mayilum’ from Thiruchendhil Kalambagam in Vasantha, followed by Papanasam Sivan’s composition on Muruga ‘Maa dayai nidhiyenum’ in the same raga, and the chittaswaram, added splendour aplenty.

Vijay Siva was at his characteristic best as he conjured the aura of Bhairavi , meticulously unravelling the raga’s old-world charm. Ramakrishnan, in his response, coaxed the bow and strings to telling effect to create a delightful melody . The Tarangam, then, swayed to the gait of Khanda Chapu before arriving at breathtaking swara exchanges at ‘Saradindu sama vadana’ in which Ramakrishnan, Bharadwaj and Sunil Kumar partnered with the singer for a rewarding joint venture. 

The majesty of Sankarabharanam unfolded as the master and pupil took turns in the upper octave to ride a wave of crescendo before effecting a quiet retreat into the mandhra sthayi. Ramakrishnan was again in his element, coming up with a matching alapana. After a clinical rendition of the kriti ‘Manasu swaadheenamaina’, Vijay Siva embarked on a niraval in the beginning of anupallavi ‘Tanuvu taanu gaadani’, before indulging in a kalpanaswara cascade. Bharadwaj and Sunil Kumar displayed their rhythmic prowess throughout with an uncanny chemistry even while embellishing the concert. Clarity and energy marked their absorbing tani avartanam in Misra Chapu.   

Sanjay Swaminathan did a creditable job by complementing his guru in the opportunities he got in the manodharma segments. 

There was an ideal balance and variety in song selection in terms of tala and language in a concert wherein no composer was featured more than once. The final phase of the recital included ‘Ehi annapurne’ in Punnagavarali, a thillana in Kadhanakuthuhalam and a Thiruppugazh in Asaveri, each one adding to the appeal of the concert.