Margazhicha Bhoot Mothe.
Ze Gele Naahi Aale.
The Margazhi Monsters operating under the name Ranjani-Gayatri have arrived a month early and there’s been no return to normalcy in sight (or hearing) for the listener. Fun fact – during that Tri-Raga Grahabhedam, my ‘smart’ watch told me I had crossed a PAI goal! Extra proof that their music LITERALLY increases heart rates. Talk about palpable, even palpitative, effects of their music!
Maathe. They own this, no further questions asked. Bliss to relive their matchless rendition.
Since the event was titled Sangamam, the pieces were chosen to reflect this theme. The tale of Shiva and Vishnu’s union, the Ayyappan Avadarittha Kathaamritam was elaborated in nectar-sweet Kharaharapriya with gripping neraval to Triloka Mangalakaramoorti, followed by swarams! How masterfully they poured the raga while navigating the tight cycle of eight… Time to re-watch the Eppo Music Kambhoji MASTERCLASS about this!
The enigma that is Devagandhari was at once demystified and made more elusive, delineated yet made more nonlinear in a delectable alapana by Gayatri ma’am. Each phrase, rounded glide, swift and gripping run to be savoured. After a rich, melodious alapana by the awesome Vid. L Ramakrishnan came a confluence of languages, a supremely beautiful Maataada Bekayya by Ambujam Krishna. The languages shifting seamlessly and blending into the grammar of Devagandhari was utter beauty.
One off-mic glimpse and the gears in my head turned and clicked into place satisfyingly – of course, this ragam HAD to be in this list! Ranjani ma’am took 0 seconds to plunge us into Kumudakriya. What a feat! Her expressive voice unlocked depths of poignant raga bhava as she explored the lower notes, building up the alapana in such exquisite patterns. As the raga progressed higher, with a twinkle in her eyes, she handed over the reins, a surprise! Almost as though this raga about the union of halves would be incomplete otherwise. Gayatri ma’am then soared with it, intensity reaching higher, those twists in this splendid non linear raga all the more mind-blowing. After a wholesome, haunting violin alapana came the masterpiece of Dikshitar. I’ll never get over the genius of this composition, that subtle GMDRS almost swaraksharam for Ku-mu-da-kri-ya, the shift into the precious Agamadi Sannutam… This place was adorned with action-packed swarams. Such a celebration.
Hearing an timeless classic like Endaro Mahanubhavulu in their voices, with that extraordinary team of artistes, in full gusto, was a precious experience. In perfect sync, that punch in the sangathis, that ethereal softening to pierce the hardest of hearts. Andariki Vandanamulu.
Eleven months of waiting and finally here was Damodara. The Govardhana Giridhari. Ranjani ma’am began the alapana. What was that unreal poise, those absolutely precise yet unhurried meends, full of the raga’s melancholy and yearning. When Gayatri ma’am sang her alapana… Who really held the reins here, I wonder. Was it her making Darbari Kanada dance? Or was it Darbari Kanada making her sing? Oh wait. My assumption is wrong here – they’re no different! Can music ever be documented in anything except music? Words fail. Those patterns that blew the canvas wide open. Those phrases of pure emotion. Each note, octave traversed with such devotion, seeking not to show off but to transcend. Her sadhana, for us to experience. When she stopped at that Sa… The mountain might have been lifted to shield from the thunder outside, but the thunderous applause rang within, where we were, watching, bewitched. Darbari then continued to pour in the joyous patterns of tanam before the pallavi –
Govardhana Giridhari Govinda!
Paavaka! Bhayahara! Paahi Mukunda!
Set to Khanda Triputa, dwinadai. Is there anyone better than these two to represent the Sangamam that is Indian music! Neraval in Darbari Kanada to this intricate Tala flowed as unimpeded emotion, word and talam syllables falling in place effortlessly. All you heard was His name. In complete surrender. The swarams were truly magic, how they fell in line so incredibly. And that second speed pallavi… As precarious as a mountain on a little finger, but of course, it all depends on who the ones holding it up are. With these musicians, everything was little Krishna’s play. Loved the beautiful choice of Amrithavarshini for the ragamalika swarams, evoking the rain!
What followed next was the heartrate increasing, forget-to-breathe exposition of Sarasangi – Dharmavathi – Chakravaham.. I truly wish I had three eyes, to track all the three flow. An infinite number of ears and at least one more brain because this one was blown into smithereens. Gayatri ma’am was done being human. She was even done being one ragam. She wanted to be three. She wanted to let us know what Sangamam truly can be. What maddening focus, control, prowess, genius, insanity. Oh what a magnificent insanity. Each ragam shone in its full gamaka-laden glory, yet vanished into Sarasangi when she demanded it. Forget one phrase transposed in three ragas, she did plenty. She merged them, pulled them apart, weaved them into each other, sprang from one to the next, and ended with that korvai… The auditorium exploded in applause, in sheer awe. How lucky we were, to have caught the Margazhicha Bhoot!
After the pallavi the percussion wizards Vid Manoj Siva and Vid Anirudh Athreya regaled us to a fantastic Thani Avartanam in THIS talam. How can they play koraippu in everything?! Such mastery.
Rains over. Out came the sun shining brightest, Nalinakanthi. Will we ever say “Enough of this nectar”? It poured. We devoured. Then sweet, sweet Madhuvanti. Then a Sama that makes chakkara pongal taste like neem leaves. Three verses in three languages flowed into the evergreen Manasa Sancharare. In yet another monumental surprise they rendered a medley of Sindubhairavi!!! Venkatachala Nilayam and then Aga Vaikunthichya Raaya… Those improvisations…
I truly want to cry. I feel helpless. How am I supposed to write shorter? Every detail, every nuance of their larger-than-life music comes to haunt me and mocks me saying “Oh I see you’ve forgotten to write about me”. What do I tell them? –
It’s not even Margazhi yet! Until next time.
Notes on Ra-Ga 