Maiyyal Kondenadi

Haven't written anything about one of my all time favorite carnatic musician - the ingenuous, masterly, the only IITian in the pack, Sowmya (ji understood). She is always the reference singer for me to practice along with. Though not a melodious voice, the kattai kural retains the beauty of phrases that are unique to carnatic style. Her recent thematic concerts had caught up an audience vibe on its own. It takes a thorough understanding, a confident quest for innovation, curiosity to educate and move the audience to next level. Sowmya is the one to start on this, others like T.M.Krishna and Sanjay followed. Confident that the audience would raise up to her and accept the whole idea of learning some theory behind music and accept her humble self with enthusiasm. I mention that she is an IIT-ian specifically because I still recollect and cherish her geeky d/dt explanation for sangathis in Jaya TV Margazhi Mahotsavam 2008 question time.

Her two albums Ososi and Maiyyal are based on sringara rasa (Romance/Lust/Love - Viraha thabam included) pathams and javalis. Viribhoni varnam with sahityam for the charana swaras made me jaw-drop and listen. Wud have immediately googled and banged my head to find out what those lyrics are, if she composed them herself, how come we didn't even know such a sahityam existed for this varnam all these years. She stops after the varnam and clearly explains the Maiyyal rasa ingrained in those lyrics. She also gives us a glimpse of how to enjoy each piece and some tit bits behind some pieces (who, where, when story). I like this interactive part in Sowmya's concert. She makes herself very approachable. Even after concerts, we can ask her all our doubts back stage. She patiently explains. She has been the "Asthana singer" for some of the marriages in our family !

An illustrious student of yesteryear's doyen Smt.Mukta (that explains her love for pathams and javalis), RTPs are her forte. Her Todi has made me appreciate Todi for the first time and made me curious to explore more on Todi. Her singing of Tanam at Madhyamakalam (I donno how to explain this....forgive my lack of knowledge on this...will try to share a song to explain what I am referring here) using the Akarams is very very unique and intimate to carnatic music. Haven't heard anyone sing like that after Ariyakudi and other yesteryears' stars. That shows the power of her vocal chord. It needs to be cultivated when the voice breaks and takes shape during the adolescent years of one's life. It's not easy to gain command of akaras in the vocal chord. A voice with absolutely no nasal accent. A deep throated singing from the Naabi. Sowmya has it all and more.

Not just a carnatic musician, she takes time to pursue her other interests. Felt totally humbled and inspired after gazing at her photographic and writing skills in some site/blog. Her explorations from early days with carnatica brothers, experiments with Embar Kannan in composing speak for themselves. These and more aspects of her personality has intrigued me as a school girl looking up to do a variety of things in life but with a professional touch.

Here's her website:
http://www.carnatica.net/sowmya/


Though sung with plenty of homework behind the stage and practice, I wouldn't vouch that her rendition is full of bhavam. The pathams and javalis are meant for bharatanatyam dance as Sowmya herself mentions in the album. These make an amazing repertoire to any dance performance. Prof. Sudharani Raghupathy's choreography is worth the mention and recently Priyadarsini Govind's and Mythili Prakash's. The very nature of Sowmya's voice makes it sound rough and tough. I have the same notion about Sanjay Subramaniam's voice and rendition too. There won't be emotion that is obviously conveyed in their voice as much as in the lyrics. I say this by comparing with the usually compulsive male voice renditions in dance choreographs. Bombay Jayashri is one singer whose voice blends with emotions in the lyrics. But all due credits to individual singers are well deserved.

Violin alone, to say, is a poor accompaniment for pathams and javalis ( to me at least). The same patham in dance will be more enjoyable with flute and veena accompaniments without the mridangam.


Links to her albums Ososi and Maiyyal:
http://www.rajalakshmiaudio.com/web/index.php/products/viewProductDetail/id/173
http://www.rajalakshmiaudio.com/products/viewProductDetail/id/66


She never tries to be what she is not. Totally with herself and the music she loves......we love the music she gives us. She is always close to heart and her music as beloved as the Maiyyal pathams.