Sri Chembai Memorial Trust organised a music festival in Thiruvananthapuram to celebrate the 114th birth anniversary of the legendary Chembai Vaidyanatha Bhagavatar. The festivities commenced with a vocal recital by Trivandrum Krishnakumar.
With ‘Bhajamanasa' in Bahudari, an invocation to Ganesha by Thulaseevanam, the vocalist gave the concert a smooth start, though it was slow-paced. Madhavamanohari, a rare extract of Kharaharapriya, was the raga of the second kriti ‘Mahalakshmi Karunarasa.' This interesting composition by Muthuswami Dikshitar depicts the depth of devotion to Devi. The raga alapana preceedingthe main kriti exposed the different shades of Kanada; the bass notes, especially, were a treat.
The quality in voice and delivery of sahitya, along with swara frames synced to perfect laya, was effective in the kriti ‘Sughiyouvaro Rama.' Taniavartanam by K. Jayakrishnan on the mridangam and Vellinoor Srijith on the ghatam was a text-book performance, and the terrific climax was lauded by the audience.
Ragam tanam pallavi was fascinating. To say that it ranked above the main kriti would not be wrong. ‘Hamsanadam,' perhaps the most mellifluous of ragas, was a perfect choice. The raga delineation had some delectable sancharas, the tanam breathed life as it grew faster, and the swara rendition was full of verve.
Special usuage
The special usage ‘Ni-Ma-Ri-Ni' stood out in the composition ‘Hamsanadhameva Jeevanam' set in Thishra Jathi Thriputa tala. The upper prathimadhyamam note, which brought out the crux of the raga, was enticing. The casual shift to Kapi, Saveri, Hindolam and Varali wove a garland for the main raga, Hamsanandam.
Although a surprise, a short taniavartanam followed the ragam thanam pallavi. Good modulation skills were exibited in the kriti ‘Rama Rama' in raga Nadanamakriya, which is Mayalamalavagowla heard with a madhyamasruthi reference.
A formal mangalam was not sung. Instead the vocalist sang a complicated ragamalika thillana by M. Balamuralkrishna set mainly in Amruthavarshini. Trills on the violin by Attukal Balasubramaniam were quite noteworthy. The tributaries to the main raga that spread out from the thillana were Mohanam, Darbari Kanda and Hindolam.
The vocalist made up for the delay in starting the concert with good time evaluation and the concert was not too lengthy.
