Rasika Ranjani Sabha, Mylapore regularly conducts monthly concerts and thematic series in addition to its prestigious December Season programmes. Among these, the exclusive Rāgam–Tānam–Pallavi (RTP) series, introduced last year, has become a distinctive annual feature, showcasing promising young artistes alongside senior vidvān-s.

This year's edition featured an engaging and intellectually stimulating theme. The selected artistes were invited to compose a pallavi using a line drawn from the compositions of a pre-Trinity Tamiẕ composer, with the source material extending even to verses from Saṅgam literature. The pallavi was required to be set in a tāla comprising more than nine akṣara-s. In addition, the artistes had to choose one rāga from a prescribed list like Vāgadīśvarī, Kāpi, Sāvēri, Dēvamanōhari, Bilahari, etc.

Rāgam-Tānam-Pallavi is widely regarded as the pinnacle of manōdharma saṅgīta, demanding immense creativity, scholarship, and technical finesse within its established framework. Imposing such additional thematic and structural constraints not only challenged the artistes' ingenuity but also offered the audience a refreshing and thought-provoking concert experience.

The concluding concert of the series (11th June, 2026 - 6:30pm onwards) featured Viduṣī Amritha Murali, who was accompanied by Kum. VSP Gayatri Sivani - one of Kural's contributors and supporters, who is an exceptionally talented young violinist, and Śrī NC Bharadwaj on the mṛdaṅgam - a promising torchbearer of the Umayālpuram Sivaraman bāṇi, who is admired for his precision and a sensitive approach to percussion accompaniment.

In keeping with the concert tradition of Saṅgīta Kalānidhi Vid. RK Shriramkumar's school of thought, Amritha akkā commenced the recital with verses from the Śāradā Stuti Mañjarī (composed by the Ācārya-s of the Sringeri Śāradā Pīṭham), rendered in the rāga, Hamsadhvani. The invocation immediately established the devotional atmosphere to set the right mood for the evening.

Without much delay, she sketched a crisp rāga outline - R M, P, D S D P, P M R G, R S D, S - which was sufficient to establish the identity of the rāga as Śuddha Baṅgāḷa. To the delight of many senior rasika-s in the audience, she launched into Rāma Bhakti Sāmrājyamu of Śrī Tyāgarāja.

One subtle aspect of this rendition was especially noteworthy. The composition is frequently heard with the phrase seemingly divided as "Rāma bhakti sāmrājyam ē mānavulakabbēnō manasā," creating the impression that sāmrājyam and ē mānavulaku are separate words. Grammatically, however, the correct construction is sāmrājyamu ē mānavulaku, with the two words joined through sandhi. Because performers often sustain a prolonged kārvai after sāmrājyam, the intended grammatical connection can easily become obscured. Amritha akkā thoughtfully resolved this by completing the full word sāmrājyamu at the end of pallavi, demonstrating an admirable sensitivity to both language and musical phrasing. For students of music, it served as a gentle reminder that fidelity to sāhitya is as essential as fidelity to saṅgīta.

The kṛti concluded with a lively round of brisk svara exchanges between the vocalist and the violinist. As a performing artiste and vocalist, however, what particularly drew my attention was a thoughtful artistic choice made by Amritha akkā.

Certain rāga-s, particularly those that are uttarāṅga-pradhāna, such as Kāmbhōji or Kēdāragauḷa, derive much of their identity from extensive exploration of the upper octave and naturally demand considerable vocal energy. Likewise, several compositions themselves require sustained singing in the tāra sthāyi. While such repertoire can be immensely rewarding when the voice is in peak condition, artistic maturity often lies in recognising when a different approach would better serve the music.

Throughout the evening, Amritha akkā chose rāga-s and compositions that largely revolved around the madhya sthāyi, allowing her to explore each rāga with complete freedom while avoiding unnecessary strain. Rather than attempting to push the voice beyond its natural comfort, she shaped her manōdharma within a range that enabled musical ideas to unfold effortlessly.

For many aspiring musicians in the audience, this itself was an invaluable lesson. Artistry is not merely about displaying one's maximum capability at every opportunity; it is equally about understanding one's instrument, respecting its limitations and making thoughtful musical choices that ultimately enrich the concert experience.

Then came Vāgadīśvarī, chilling both in its haunting melodic expression and in the cool ambience of the hall. The rāga ālāpana slowly unfolded through a series of brief nyāsa phrases centred around the madhyama, each giving rise to fresh and imaginative prayōga-s. After these compact melodic ideas, a sustained pañcama, embellished with expansive phrases revolving around it, brought a profound sense of repose. It felt as though the preceding melodic streams had finally converged into a single river, arriving at a moment of serene fulfilment.

What followed was a striking contrast. The repose at pañcama gave way to brisk phrases centred on the dhaivata, explored through varied approaches such as dhāṭu movements, jāru-s, and a wealth of imaginative patterns. Rather than relying on predictable, exercise-like sequences such as D N D or D N D P M P D N D, the phrases were characterised by spontaneity and aesthetic intent, making every turn of the rāga feel fresh and engaging.

Equally captivating was the treatment of the niṣāda. Amritha akkā brought out its many shades through a nuanced palette of gamaka-s - sthāna kampita, hṛsva kampita, dīrgha kampita, the plain niṣāda, and the graceful nokku̱. The phrase N D N S emerged as a recurring melodic anchor, around which several ideas were woven, lending both cohesion and variety to the unfolding ālāpana.

One particularly interesting feature was the repeated use of the phrase G M R. Although M G R is generally recognised as the accepted avarōhaṇa movement in Vāgadīśvarī, the G M R phrase has long been encountered in practical performance. It perhaps serves to soften the vivāditva arising from the close proximity of the antara gāndhāra and ṣaṭśruti ṛṣabha. A similar treatment may be observed in Bhōgacchāyānāṭa - the corresponding rāga in Śrī Muttusvāmi Dīkṣita's asampūrṇa mēla system. Even though Bhōgacchāyānāṭa omits the gāndhāra in descent, Dīkṣita's Bhōgacchāyānāṭaka Priyē nevertheless employs the G M R phrase, reaffirming its importance as one of the rāga's defining melodic signatures.

Gayatri's responses were captivating, bringing out the beauty of Vāgadīśvarī with particular emphasis on its uttarāṅga phrases. Her mirror-like repartee emerged with effortless fluency, reflecting not only her command over dhātu phrases but also her impeccable sthāna precision. 

Amritha akkā commenced the tānam in a graceful madhyama-kāla gait, dwelling initially in the pūrvāṅga of the madhya sthāyi and the mandra sthāyi. Gayatri responded with equal sensitivity, retaining the kālapramāṇa of the tānam.

The exposition unfolded in clearly discernible sections centred successively around the ṣaḍja, pañcama and dhaivata. Then came one of the evening's most memorable moments. Through the seemingly simple transformation of D N D P into D N D G, akkā effortlessly introduced Kharaharapriyā. This transition from Vāgadīśvarī to Kharaharapriyā is no easy feat. The two rāga-s differ only in the positions of the ṛṣabha and gāndhāra, while the remaining five svarasthāna-s are identical. 

With the introduction of a new rāga in the tānam, the audience eagerly anticipated the next transition. It arrived beautifully on the ṣaḍja, leading into Kannaḍā, whose contrasting svarasthāna-s instantly lent the music an entirely different colour.

Gayatri gave the rāga shift in the blink of an eye, weaving them with elegant patterns in tisra and khaṇḍa groups. Following her response, Amritha akkā briefly elaborated Kannaḍā and descended with the characteristic phrase S N S D, P. At that moment, many of us instinctively anticipated the familiar M G M R, S that would firmly establish Kannaḍā. Instead, with a single touch of the prati madhyama, she transformed the very same phrase into Hamīrkalyāṇī, creating an altogether different aura.

Seated behind her on the tamburā, Dhanush Anantharaman and Madhumitha Doraiswamy could scarcely conceal their admiration. Their expressions reflected the collective amazement in the hall as they witnessed their guru's remarkable ingenuity unfold as she concluded the tānam by retracing her steps through the rāga-s in reverse order. 

Before commencing the pallavi, Amritha akkā briefly introduced its lyrical source and the thought behind its conception. The pallavi was set in Khaṇḍa Jāti Aṭa Tāla, Khaṇḍa Naḍai, and its text was drawn from the fourth verse of Sakalakalāvalli Mālai, composed by the seventeenth-century poet Kumaraguruparar:

"Karuṇai kaḍalē Sakalakalāvalliyē, kalviyum vākkum peruga paṇittaruḷvāy, toṇḍar sennāvil niṉṟu̱ kākkum."

The moment she uttered the word vākkum, a wave of realisation seemed to pass through the audience. The choice of Vāgadīśvarī was no longer merely a musical decision; it was a thoughtful play on the rāga-mudra, with the syllable "vāk" elegantly embedded within the sāhitya.

The pallavi also featured tasteful svarākṣara-s on the gāndhāra: "ka" in kaḍalē (G G M) and "ka" in Sakala (M G M). Both ārudi-s were marked by six-akṣara kārvai-s, while the eḍu̱ppu̱ commenced four beats after sama.

Throughout the pallavi, NC Bharadwaj aṇṇā displayed remarkable sensitivity in his accompaniment. He filled the kārvai-s with mēl-kāla patterns, while carefully preserving the prominence of the sāhitya at its designated landing points. Such thoughtful accompaniment is invaluable during pallavi niraval, where even amidst elaborate manōdharma, the integrity of the arudi and the alignment of the sāhitya must remain undisturbed.

After a few unhurried rounds of kīẕ-kāla niraval, Amritha akkā rendered an entire āvarta of sama-kāla niraval, gradually leading into three rounds of mēl-kāla niraval. Gayatri responded to each of these with remarkable precision, reproducing every melodic nuance without missing a single svara. Given the rhythmic and melodic intricacies of a pallavi, such accompaniment demands exceptional alertness and musicianship.

The trikālam of the pallavi was presented - kīẕ-kāla, followed by caturaśra tisra, and then the mēl-kāla. This was further extended with mēl-kāla renderings up to arudi-s for both of them, and also the uttarāṅga.

Although the overall design appeared deceptively straightforward, it was, in reality, a substantial pallavi. Its length, coupled with the prolonged kārvai-s, made maintaining the tāḷa with unwavering precision a formidable challenge. The performers navigated these intricacies with remarkable ease, ensuring that neither the rhythmic framework nor the lyrical structure was ever compromised.

The kalpana svara-s were woven around different segments of the sāhitya, including "Karuṇai Kaḍalē", "Kalviyum Vākkum," and “Sakala Kalā Valli” each serving as a distinct landing point that brought out unique melodic possibilities within the pallavi. The extended kīẕ-kāla svara section culminated in an elegant makuṭam built around three successive groupings of nine, interspersed with a kārvai between them. 

Interestingly, the entire mēl-kāla svara section was rendered up to the mēl-kāla arudi, maintaining complete structural coherence with the pallavi. This was followed by a delightful sequence of rāgamālika svara-s, each resolving at different segments of the sāhitya, thereby lending fresh melodic colours to the text.

A thoughtful thematic thread also emerged through the choice of rāga-s. Vāgadīśvarī, Sarasvatī and Sarasvatī Manōhari naturally evoked the imagery of Goddess Śāradā, while lighter rāga-s such as Kāpi and Bēhāg added contrast and charm to the progression. After a series of swift transitions through the rāga-s in reverse order, Amritha akkā brought the expansive svara section to a close with a well-crafted kōrvai.

Notably, there was no kuṟaippu̱. Yet, it never felt wanting. Given the sheer length of the pallavi, the expansive tāla cycle, and the inclusion of the rāgamālika svara-s, it already felt complete. A kuṟaippu̱ at that stage would perhaps have added length rather than substance, and the decision to conclude with the kōrvai instead reflected sound musical judgment.

The tani āvartanam was undoubtedly one of the highlights of the concert. Bharadwaj aṇṇā crafted a fascinating array of rhythmic patterns, each thoughtfully designed to resolve precisely at the pallavi's eḍu̱ppu̱. Although I may not fully grasp the mathematical intricacies underlying every calculation, two aspects of his presentation stood out and deserved special appreciation.

The first was his impeccable maintenance of kālapramāṇa. Despite the rhythmic complexity and the expansive canvas of the tāla, the tempo remained unwavering from the beginning to the very end of the tani. The second was the ingenious design of the concluding kōrvai. Instead of spanning three āvarta-s, it was conceived to fit within a single āvarta, starting after fourteen akṣara-s in kīẕ-kāla from sama to the pallavi's eḍu̱ppu̱ - effectively landing four akṣara-s after sama. In a tāla of such considerable length, repeating a lengthy kōrvai over three avartana-s could easily have diminished its impact. Bharadwaj aṇṇā’s concise and crisply structured finale, however, kept the audience on the edge of their seats, making for an exhilarating conclusion to the tani āvartanam.

Following the grand Rāgam–Tānam–Pallavi, Amritha akkā presented a moving viru̱ttam from the verses of Śrī Tāyumānavar in the rāga-s Yamunākalyāṇī, Nādanāmakriyā, and Ceñjuruṭṭi:

தந்தை தாயும் நீ! என் உயிர்த் துணையும் நீ!

சஞ்சலம் அது தீர்க்கவந்த தேசிக வடிவு நீ!

உனை அலால் மற்று ஒரு துணை காணேன்

அந்தம் ஆதியும் அளப்பரும் ஜோதியே!

ஆதியே! அடியார் தம்சிந்தை மேவிய தாயுமானவன் எனும் சிரகிரிப் பெருமானே!

The viru̱ttam flowed seamlessly into Aṅgai Koḍu Malar Tūvi, another composition of Śrī Tāyumānavar, rendered in a captivating rāgamālika. Popularised by Bharat Ratna Vid. MS Subbulakshmi, the composition served as a serene and devotional tukkaḍā after the intellectual intensity of the RTP.

The concert concluded with Rāmacandrāya Janaka of Śrī Bhadrācala Rāmadāsa, set to a lively tisra naḍai. It provided an uplifting and joyous conclusion to an evening that celebrated not only scholarship and creativity but also the bliss of musical exploration.

Our sincere thanks to Rasika Ranjani Sabha for curating this exceptional Rāgam–Tānam–Pallavi series and for making the concerts accessible online, enabling rasika-s across the world to experience them even if they could not be present in person.

Watch the full concert on YouTube