The joy of attending a concert in an open pandal has no parallel. Bharatiya Vidya Bhavan, Coimbatore Kendra’s Pongal music festival has been providing this joy to rasikas for two decades now. And, the 20th edition brimmed with youthful energy.
Abhishek Raghuram began the inaugural concert with characteristic sprightliness, his voice effortlessly translating imagination into exciting music. His lovely delineations of Sree ragam (‘Sri Varalakshmi Namsthubhyam’), Hindolam (‘Maa Ramanan’) and Kapinarayani (‘Sarasa Saamadhaana’) were outdone by his Kalyani and Kiravani (RTP). It was an inspired performance, and it seemed as if the music led the singer, who obediently followed its path, thrilled and surprised at what was created. Following a crisp tanam, he presented the pallavi ‘Kamalavadanee, Kamala Dhala Nayanee, Vaanee, Bhavaanee, Kalyaanee/Geervaanee’, bringing out the best of both the ragas. His swara sessions were delightful. B.U. Ganesh Prasad followed the vocalist with ease on the violin and Neyveli Narayanan added vibrancy with the mridangam.
On the second day of the five-day festival, the Bhavan honoured veteran Harikatha exponent Kalyanapuram Aravamudhachariar with the title ‘Sangeeth Samrat’ and Hemalatha Ganesan received the ‘Kovai Subri’ Muruga Gana Award for music in Coimbatore. In his acceptance speech, Aravamudhachariyar traced the origin, growth, decline and revitalisation of Harikatha.
Rajhesh Vaidhya ’s ensemble was a pulsating rhythmic feast. He began with his own composition in Karnaranjani and moved on to ‘Vaathaapi Ganapatim.’ The swara session was a swift whirlpool of ragamalika swaras. Most of the compositions were popular ones — ‘Manavyalakinchara’ (Nalinakanti), ‘Brochevarevaruraa’ (Khamas), ‘Naadaloludai’ (Kalyanavasantham), ‘Raghuvamsa Sudhaambudhi’ (Kadanakuthuhalam) and ‘Nagumomu’ in Abheri as the main piece.
Sathyanarayana on the keyboard gave an enjoyable alapana of the raga followed by Rajhesh Vaidhya’s vibrant version. After the elaborate presentation of the kriti, the percussionists – N. Mohanaraman and Lalgudi Sriganesh on the mridangam, D. Chandrajit on the tabla, Sai Hari on the ghatam and Karukurichi N. Subramanian for the special effects — entertained the audience, who were glued to their seats, following every beat. Vaidhya’s team concluded with other favourites such as ‘Brahmamokatae’ and ‘Maitreem Bhajatha.’
The next morning, Kalyanapuram Aravamudhachariyar performed ‘Seeriya Singam’, on Narasimhavatara. It was an excellent sample of interesting and uplifting narration. His memory power and eloquence were astounding. His clear voice and tuneful singing were quite impressive. His subtle humour added healthy spice to the well-known story of Prahalada. He could cite freely from the Bhagavatham, Kamba Ramayanam, Tyagaraja kritis, Thirukkural and Marathi Harikeertans. The interesting statements that interspersed his narration were thought-provoking. For instance, he said there were many Hiranyakashipus even now. But Narasimha was not around to destroy them. But He would come if there was even one Prahalada.
Providing a platform for the up-and-coming artists is a regular feature of the Pongal festival. This time was no different. Among those who performed were R. Swetha, P. Archana and R. Padma Janani (vocal concerts); students of BVB school, Ajjanur (group singing) and students of Sri Vidyasai Vidyalaya (veena recital). Sadguru Tyagaraja Aradhana was conducted on the last day, in which most teachers and students of Carnatic music in the city took part.
