Charukeshi

I had no topic to blog till a friend shared a "Charukeshi" piece sung by Unnikrishnan. I am any day biased to Unni’s renditions, but keeping that aside too it is indeed a beautiful presentation.

Can’t believe one can elaborate on such a raga to this vast extent. Charukeshi, the 26th ragam of “Carnatic Sampoorna melakartha” scheme is a recent import to Hindustani music.
Chatushruthi rishabham, anthara gandharam, shuddha madhyamam, shuddha dhaivatham, kaishiki nishadham frame its scale.
(Aa: S R2 G3 M1 P D1 N2 S ,Av:S N2 D1 P M1 G3 R2 S)
Uttaraanga(first 4 notes S,R,G,M) is Shankarabharana’s import . Madhyama, panchama and Daivatha are accorded dominant notes in Charukeshi.

A ragam which is known to incite emotions of grief and devotion is handled with vigor in the kalpana swara sancharam by Unni. A 35 minute rendition of "Adamodi galadhe" is a brilliant package of the needed Nidhanam in aalapanai, expected vegham in swara kalpana and a clear, placid rendition of the krithi.
The alapanai gliding through the notes gives a sorrow appeal which is the emotion of the Raga. In the krithi section he displays the virtuosity but within the boundary of Thyagaraja’s composed work. Swarakalpana in “Chaduvulanni” is as gleaming as it could be. The final swara hides in it a variety of combinations,tisra sancharams, janti-swara usages,a beautiful korapu and a simple yet powerful mukthaya. The swara sancharam in 3 octaves , reaching daivatha in the higher octave takes us to a musical crescendo and only speaks for Unni’s unswerving dedication .

It’s impossible for such a rendition without mental and emotional commitment. The sophisticated patterns leave behind an unsophisticated expression - soothing to the ears.

One needn't get into the intricacies and technical complications of the theory of the ragam or lyrics. It is true music beyond the precincts of words and technicalities.

Must listen for any mind that craves for true music:
http://www.sangeethamshare.org/manjunath/Carnatic/Audio/032-UnnikrishNan-VOcal-Augusta_GA-2007/

Revathi Sridharan