The audience at Kamarajar Arangam for Chennayil Thiruvaiyaru on December 24, 2009, waited to listen to Sowmya’ s recital for she amalgamates the styles of two eminent schools – Brinda Muktha and Dr S Ramanathan.
Though her voice played truant now and then, yet she caught the spirit of Thiruvaiyaru with her encyclopaedic musical knowledge.
She kickstarted the concert with ‘Mooladhara Murthi’ in Hamsadhwani. After paying obeisance to Lord Ganesha she jumped to a peppy ‘Sarasasamadhana’ in Kapinarayani which was rendered with verve.
The often sung ‘Maa Ramanan Uma Ramanan’ in Hindolam was soothing.
‘Bogeendra Sayinam’ in Kuntala Varali captured the divine aura of Trivandrum which is dedicated to Lord Ranganatha. The composer Swathi Thirunal has propitiated Lord Mahavishnu musically.
The piece de resistance was ‘Bhajare Manasa’ in Abheri.
Her rigorous training under acclaimed gurus surfaced in her exhaustive sketch of the raga. After the raga swoorapa which was rendered with elegance, she sang ‘Bhajare Manasa’.
Sowmya’s niraval was clothed in classicism. Her swara kalpana was like a musical thunder which enlightened the rasikas about the varied facets of the raga.
The famous ‘Srichakra Raja’ in raga malika added to the spiritual content of the concert.
Kavadi Chindu of Annamalai Reddiar reminded one of Dr Ramanathan who popularised it. No wonder Sowmya could render it with class.
Embar Kannan, the violinist, had the stamp of a great tutelage. His guru Kanyakumari has honed his skills well. His elegance left an imprint on the rasikas.
Manoj Shiva on the mridangam revealed his creative skill.
Govinda Prasad on morsing struck melodious notes.
The tani of Manoj and Prasad was a blend of idealism and skill.