The 14-day second National Music Festival- 2010 provided a sumptuous musical treat to music lovers in Palakkad. The festival started with Mangalavadya by the Nenmara brothers, N.R. Kannan and N.R. Anand, accompanied by Pollachi Suresh Babu and Pudukkottai M.V. Nataraj on the thavil.
Hindusthani vocalist Nirali Udeshi Shah took the stage on the second day. He was accompanied by Sathish Shah (tabla) and Hamsaharsh (harmonium).
Meditative ambience
The alap of Jayjayvanthi, revolving round the manthrasthayi, traversed through octaves. The raga for Basanth was sung evocatively while ‘Jagadamba' was soaked in devotional fervour. ‘Kararavindena'(Mukunthashtakam) in Bhairav created a meditative ambience.
Abhishek Raghuram (vocal) and Anand (mridangam), grandsons of the mridangam maestro Palghat Raghu, reigned on the third day. They were accompanied by S. Vinu and P.L. Sudheer (ghatam). Bhairavi Ata tala ‘Viriboni' was followed by M.D.R.'s ‘Tyagarajagurum asraye' in Keadara.
The dexterous delineation of Panthuvarali for ‘Sarasaksha' was adorned with spirited niraval and brilliant swarakalpana at ‘Bhamineesamudayasaya….'
Contours of Yadukulakamboji stood out in the array of phrasings. Vinu's portrayal of Panthuvrali and Yadukulakamboji showcased his artistic talent.
A brisk Tyagaraja kriti ‘Bagayanayya' in Chandrajyothi was an apt prelude to the centrepiece, an expansive alapana of Shanmukhapriya, Syama and Anandabhairavi and thanam, pallavi and swaraprasthara thereon. The unique three-raga pallavi ‘Shanmukhapriyajanani Samaganavinodini, Sadanandabhairavi,' set to Chathurasrajathiata tala sustained the momentum of the concert. Anand and Sudheer came up with a brilliant tani with combinations of nadais that were woven into intricate patterns.
The fourth day had a Kathakali music concert by Kalamandalam Babu Namboothiri and Vengeri Narayanan. They were accompanied by Kalamandalam Nandakumar (chenda), Sadanam Devadas (maddalam) and Kalamandalam Ravisankar (edakka).
The invocatory Thotayam on Lord Ganesa, ‘Hariharavidhinutha' in Natta and Saranga, was followed by ‘Ajithahare' in Sreeraga (‘Kuchelavrutham') and alapana of Mohanam for ‘Mangalamoorthy' (‘Dakshayagam'). Two padams from ‘Santhanagopalam' preceded familiar numbers such as ‘Samyamakannorudyanam'(Poorvikalyani), ‘Vijanebatha' (Thodi) ‘Yamiyamibhaimi' (Madhyamavathi), Sivasthuthis ‘Karunyakaram Goureekantham ‘ (Sreeragam) and ‘Chandrachooda Namosthuthe' (Bhoopalam).
Sikkil Gurucharan's vocal concert was the highlight on the fifth day. R.Swaminadhan (violin), K.V. Prasad (mridangam) and Uduppi Sreedhar (ghatam) accompanied. Kanada Ata tala varna ‘Neranammithi' showcased verve and structural strength. ‘Vallabhanayakasya' in Begada and the Tyagaraja kriti ‘ Merusamana' in Mayamalavagowla were presented with deep involvement and commitment.
Erudite alapana
An erudite alapana of Sudhahindolam for ‘Thunaipurintharul' and a soothing ‘Srungaralahari' led to an exquisite portrayal of the demanding raga Varali. Methodically and systematically arranged sancharas brought out the rakthi of the raga.
Swaminathan's delineation was also rich in expression and magnitude. Tygaraja's ‘Etijanmamithi' was marked with subtle sangathis and well-articulated niraval at ‘Sagarasayana…'
Swati Tirunal's ‘Paripalayamam' was ensued by a ragam-thanam-pallavi. ‘Raghukulathilakude….,' set to Khandhajathi Thriputa tala was adorned with an opulent round of swarasanchara that culminated into ragamalika in Karnaranjani, Garudadhvani and Vasantha. Gurucharan wound up the concert with ‘Gangadheeswaram Sankaram' and a Thillana in Bagesree.
The festival was organised by Palghat Fine Arts Society.
