How stalwarts interpret a raga?

S. Sowmya and Prof. R.S. Jayalakshmi delved deep into the nuances of Carnatic music at The Music Academy’s academic sessions.

Day 10 of the Academy Sessions started with S. Sowmya’s presentation on ‘Understanding a Raga through the interpretations of T Brinda and S Ramanathan’. She began her talk by discussing the significance of patanthara (tradition) and how it continues to shape contemporary music. She emphasised the importance of a guru’s teachings while acknowledging how artistes often add additional sangathis (musical phrases) to leave their unique imprint on a composition. She described musical expression as a dynamic language, constantly evolving through conceptual changes.

Using examples from Saveri, she highlighted differences in interpretation. For instance, in ‘Ivan yaaro’, S. Ramanathan slightly elevated the Gandharam and Nishadham, whereas in ‘Sri rajagopala’, the notes would not be elevated. Mukta Ma, however, emphasised lowering the notes in Saveri.

Sowmya pointed out that Saveri, now classified under Malava Gowla, was earlier listed under Thodi in older texts. She stressed the importance of understanding and interpreting these shifts, as well as being mindful of the tendency to ‘round off’ swaras. She explained the concept of ‘alpatvam’, which refers to subtlety in both quantity and frequency, advocating for a balance between traditional adherence and innovation in music.

Sowmya expressed her opinion that a raga alapana should maintain a connection to the composition being presented. While she encouraged sticking to the prayogas inherent in the composition, she also welcomed innovation for those seeking excitement. Using Sahana as an example, she explained how the gandharam is predominantly handled and cited rare phrases in Tyagaraja’s ‘Giripai’ that are seldom heard today. Her students demonstrated these sangathis beautifully, illustrating the nuances. She further elaborated on ragas under the Kaanada constellation, such as Atana, Sahana, Abhogi and Kannada.

Transitioning to Surutti, she highlighted the prominence of the nishadham as the jiva swara and the subtlety of the dhaivatam, based on her guru S. Ramanathan’s teachings. She contrasted this with the Dhanammal school, which gives dhaivatam more prominence but in a refined manner to avoid sounding like Kedaragowla, and cited examples such as ‘Bhajana parulake’ and ‘Mariyada teliyakane’.

She suggested that these stylistic variations between various schools could provide a vast field for research, even suitable for doctoral studies.

Sowmya encouraged students to explore stylistic developments and banis (traditions), emphasising that there is no absolute right or wrong. Ultimately, she stressed the importance of enjoying the music, as it naturally inspires curiosity about its origins, evolution, and aesthetics.