Both concerts were marked by devotional fervour.
Padakavita Pitamaha Tallapaka Annamayya's 604 Jayanthi was celebrated on a huge scale in Visakhapatnam. While ‘Goshti gaanam' marked the celebration at Annamayya mandapam on Beach Road under the aegis of Visakha District Dharmic Advisory Council (DDAC), Visakha Music Academy featured vocal concert as part of the celebrations at Kalabharati.
An off shoot of Hindu Dharma Prachara Parishad of Tirumala Tirupathi Devasthanam, DDAC has been instrumental, since its formation in 2008, in propagating Annamyya compositions in the city. Thanks to yeomen service of its president and philanthropist Surapaneni Vijayakumar of Vijay Nirman and his team particularly Himamsu Prasad and Boddeti Jagat Rao, it has become a regular feature to have a classical music concert every weekend at Annamayya mandapam. During these three years across 156 concerts, 763 artistes from budding ones to veterans have sung the compositions of Annamyya on this platform . Recently, the DDAC conducted Annamayya's 604 Jayanthi at the mandapam.
With disciples of Sangeeta Kalanidhi Nedunuri Krishna Murthy, Varanasi Venkateswara Sarma and Bukkapatnam Krishnamacharyulu, popular as Chaitanya Brothers and Dwaram Thygaraj in lead, a host of singers took part in the Gosti gaanam. The singers sang in unison the composition with panache. The fare included Brahma Kadigina Paadamu in raga Mukhari , Bhavamulona Bhagyamunanduna in Sudda Dhanyasi, Podagantimayya mimmu purushottama in Mohana, Kondalalonelakonna konetirayudu vaadu in Hindolam, Narayanate namo namo in behag Muddugare yashoda mungita muttemu veedu- kuranji and Entamatramuna in Dwiragamalika consisting raga Brindavani and Mayamalvagoula besides Appanivara prasadi Annamayya in Tilang.
Vocalist of promise, B Lakshmi Surya Teja presented a string of Annamayya compositions with aplomb as part his Jayanthi celebrations under the aegis of Visakha Music Academy at Kalabharati. She commenced it with Karunanidhim in raga Kannada Goula and went on to present a concert with devotional passion. With an accent on raga bhava, she essayed to plumb the depths of lyrical substance well. Her fare for the session included Singaramoorithivi in raga Khamaz, Nallanimeni in Purvikalyani, Anjanatanaydaina in Kadanakutuhalam, Alamelumanga in Bhairavi, Kandarpajanaka in Misra Valaji and Ksheerabhi Kanyaku in Kuranji.
Pappu Gyanadev on violin and S Subrahmanyam on mridangam lent good support.
Keywords: Padakavita Pitamaha Tallapaka Annamayya