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Kalpana swaras in raga Paras by T Brinda & Vegavahini Vijayaraghavan

I remember people telling me that Brindamma never liked to sing swaras. It is true that her alapanas are no match to her swara singing, however I seem to come back to this particular recording every time. It is not an easy task to sing swaras in Paras, let alone the odd kalapramana and the thala in which this kriti is composed in. If Brindamma paid attention to her swara kalpana, this is how it would sound. She was so impressed that she takes a line from the middle of the charanam after singing the pallavi and finishing the song. It almost feels as though the mridangam ended the song with a nice theermanam at 02:38 only to be surprised with what is to follow. Her classic Nyasa on Pa, that almost comes thinly from infinity just seems to pierce through you like a sharp needle at 4:34. The exposition reaches a grand crescendo with an aesthetic shift in Gathi by Brindamma at 07:08. At 07:53 Vegamma tries to shift the swaras back to second speed chatusra gathi, this is however responded by Brindamma in a very classy manner at 08:11 - She comes back to thisra gathi, sings one set and follows it up with another set of chatusra gathi second speed swaras in order to make the transition back to chatusram not very abrupt. This was then followed by both the violinist and Vegamma when they both performed 2 sets of swaras before concluding the exposition. When i asked Vegamma about this recording, her reaction was "Oh? Did we sing like that?". That talks about how improvised and on spot this rendition is. This is truly magic in play! 00:00 - Charanam 02:37 - Kalpana Swaras Kalpana swaras in raga Paras, Music Academy, 1968 Vocal - T Brinda & Vegavahini Vijayaraghavan Violin - Annavarappu Ramaswamy Mridangam - Coimbatore Ramaswami Pillai Photo - Wedding album collection of Geetha Raja and SK Raja