Sri Narayana Tirtha’s Krishna Leela Tarangini is one of the many compositions that came up in the wake of Jayadeva’s Gita Govindam. Tarangini presents Sri Krishna’s leelas, almost echoing the expressions found in Srimad Bhagavata. The songs are in chaste Sanskrit and clear diction and are rich in poetic quality.
Narayana Tirtha’s only Tarangam on Garuda Bhagavan, ‘Sri Narayana Vahana’ in Mukhari and Rupakam was rendered with immense devotion by Prema Rangarajan. Endowed with a sweet voice, she excelled in creating the apt musical mood. The Mukhari alapana was soft and sweet. Charulatha Ramanujam on the violin too created a melodious essay.
The main piece was ‘Adum Perumane,’ appropriate on the Margazhi Arudra Darisanam day. This Thodi raga piece is by Periyasami Thooran. It portrays the cosmic dance of Lord Siva. Niraval and kalpanaswaras were at ‘Mukthi Alithidum Oar Mudivilla Kirthiye.’ In the swaras, the ‘Sa Ni Dha Pa Ma Pa’ prayogas were musical and rhythmic. The thani by Mannarkoil Balaji on the mridangam and Adambakkam Shankar on the ghatam was an exposition of kaleidoscopic succession of symmetrical, but changing rhythmic patterns. Balaji’s Tisra permutations were admirable.
Another piece that she rendered to suit the day was ‘Thaa Aadiyapaadhaththai’ a rarely heard kriti by Gopalakrishna Bharati in Hamsanandi. Here again, the lyrics are fabulously appropriate. The kalpanaswaras were at the Pallavi, switching between ‘Tha’ and ‘Thiruvadi Tha’, the latter at atheetham.
Pallavi Seshaiyer’s Urmika kriti ‘Enthane Vinavinthura’ was another splendid rendering. This is a janya of Simhendramadhyamam, with Daivatham as varjyam. The MLV style was unmistakably evident. The raga alapana was elaborate. Charulatha also presented an elegant Urmika. Niraval and swaras were at ‘Bandhamulena.’
Earlier, Prema Rangarajan commenced her concert with the Kalyani varnam, followed by Oothukkadu’s ‘Sri Vignarajam’ in Nattai. Khanda natai was extraordinarily musical. She wound up the concert with Dikshitar’s ‘Gange Mampahi,’ ‘Bhajare Yadhunatham’ and a Kuntalavarali tillana of Bellari Seshagiri Achar.
The Pandal created almost an open-air ambience, well suited for relaxed music concerts.
(ramakrishnan.h@gmail.com)
