Mavelikkara P. Subramaniam's vocal recital at Palakkad evoked nostalgic memories of the great musical legend of yesteryear, late G.N. Balasubramaniam, popularly known as GNB. In an interview, Subramaniam had mentioned that he was fascinated by the music of GNB, particularly its aesthetic content.
The GNB influence was clearly visible throughout Subramaniam's concert. Blessed with a resonant voice, he carried the listeners along with him through his energetic presentations. His judicious choice of kritis was another plus point of the recital.
Excellent support
Extending splendid support, the accompanists, N. Sampath (violin), Changanasseri B. Harikumar (mridangam) and Tripunithura Radhakrishnan (ghatam), contributed a lot to the success of the concert.
Lalgudi Jayaraman's varnam ‘Chalamuseya' in Valaji, followed by T. Lakshmana Pillai's ‘Gananaathanai' in Natta, provided a brisk start to the concert. The serene beauty of Sudhaseemanthini was well portrayed in the rendition of the Tyagaraja kriti ‘Janakiramana' and the succeeding kalpanaswaras.
The build-up of Reethigowla, embellished with classical sangathis, was noteworthy. Both the alapana and the presentation of the Swati Tirunal composition ‘Paripaalayamaam' were in typical GNB style. The captivating swara patterns imparted lustre.
Subramaniam revealed his respect for tradition, in his bhava-laden delineation of Kalyani. The imaginative sangatis brought out the classic texture of the raga. The kriti was Syama Sastri's ‘Thalli Ninnu Nera', in praise of Kanchi Kamakshi. The choice of the less-popular kritis– ‘Vinutha paalini' in raga Sivasakthi created by GNB and ‘Maara koti koti laavanya' of Muthuswamy Dikshitar in Arabhi – bore testimony to the vocalist's wide repertoire.
Tyagaraja's ‘Vararaagalaya' in Chenchukambodhi, popularised by GNB, was an apt prelude to Thodi, the main raga of the evening. Thodi, a major raga and a favourite of GNB, affords immense scope for exhaustive treatment. Subramaniam captured the melodic nuances of the raga stage by stage, with delightful sancharas. He painted a majestic portrait of the raga, adorning it with subtle brigas and akaras. ‘Mama Kuleswaram Saasthaaram', a Sanskrit kriti of GNB in this raga, was presented with soulful bhava. The niraval was brief, perhaps due to time constraints. Subramaniam's approach to swaraprastharas was unique; the innovative combinations created by him were full of verve.
‘Gaayathi Vanamaali' (Durga- Sadasiva Branmendra) and ‘Enna tavam seidanai' (Kaapi-Paapanaasam Sivan) exuded aesthetic charm. Subramaniam rounded off the concert with the popular ‘English Note' (gamaga-rigama-rigasa).
Sampath showcased his profound musicality through his brilliant display. His versions of Reethigowla, Kalyani and Thodi stood out for their tonal clarity and melody. Harikumar was the picture of zest and agility. In the taniavartanam in Rupaka tala with two ‘maatra idam', he played an exquisite Korvai in all four speeds. He also presented Korvai in thisra gathi; the ‘ghanta kuraippu' towards the end was exhilarating.
Radhakrishnan proved that he was an equal match. His energetic display made a great impact. The concert was held under the aegis of the Palghat Fine Arts Society, Tharekkad.
