Reputed names in classical music took to the stage for a four-day programme in Palakkad.

Sadhana, a four-day long national music festival at Chembai Memorial Music College, Palakkad, featured master musicians.

Trichy Ganesan

Trichy Ganesan, provided the fete a dazzling start. Ganesan’s open-throated style of singing, erudite renditions and kritis in rare ragas were the high points of his recital.

‘Pahi Pahi Balaganapathe’, a composition of Mazhavai Chidambara Bharathi in Hamsadhwani preceded Swati’s ‘Devadeva kalayamithe’ in Mayamalavagowla, which had excellent niraval and swaraprasthara.

Koteeswara Iyer’s ‘Eesan Kanakasabesan’ in Begada was nicely sung in the lower octaves. Two Tyagaraja kritis in rare ragas – ‘Vinave omanasa’ in raga Vivardhani and ‘Maravairi Ramani’ in Nasikabhushani, were interludes before a ragam-tanam-pallavi in Varamu. The pallavi ‘Jaya Jaya Hai Mahishasura Mardini’ in Chatusra jati Triputa tala was followed by a radiant tani.

The vocalist was ably supported by Idappally Ajith (violin), Palakkad Harinarayanan (mridangam) and Udupi Srikanth (ganjira).

R.S. Jayalakshmi

On the second day, R.S. Jayalakshmi’s ‘meettus’ were gentle on the veena and her fingers glided over the instrument without any slips. Her unhurried and serene style of playing were soothing to the ears.

The artiste brought out the delicate nuances of raga Sahana in ‘Karunimpa’. This was followed by Veena Kuppayyar’s ‘Vinayaka’ in Hamsadhwani and Tyagaraja’s ‘Ksheera sagara shayana’ in Devagandhari.

Swati's ‘Bhogeendrasayinam’ in Kunthalavarali, and Neelakanta Sivan’s ‘Ananda Natanam’ in Poorivikalyani followed. Tyagaraja’s fast-paced ‘Thelisi Rama chintha’ in Poornachandrika was an appropriate prelude to the main raga in Kamboji. Her specialty was a ragamalika tanam that showcased her mastery over the veena. Tygaraja’s ‘Everimatta’ had excellent niraval and manodharmaswara. Jayalakshmi wound the concert up with the Javali ‘Marubari’ in Khamas. She was supported by Mangad Jagadeendran (mridangam) and Trivandrum Rajesh (ghatam).

Abhradita Banerjee

Hindustani vocalist Abhradita Banerjee charmed rasikas with her fine voice. She sang each song in the concert with clarity. The artiste was accompanied by Charu Hariharan (vocal support), Prakash Ulliyeri (harmonium), Mahesh Mani (table) and Gregory (guitar).

Abradita’s flexible voice and Charu’s deep voice complemented each other in the concert.

An introduction to each song highlighting the lyrical beauty of the number made the concert more enjoyable as Abraditha’s selection for the evening included semi-classical pieces and popular ghazals.

‘Mein vaari vaari jaoon’, a traditional chhota khayal in Yaman, Drut teental, and ‘Saawariyan’ a Thumri in Anand Bhairav, were a delight to listen to.

‘Saajan ghar aaye’ in Chandrakauns was followed by the evergreen Mehdi Hassan ghazal – ‘Ranjish hi sahi’ in Yamankalyan. Jagjit Singh’s sonorous ‘Ye daulat bhi le lo’ was mellifluously sung.

She concluded with a tharana in Malkauns.

The Mysore Brothers

The Mysore Brothers, Nagaraj and Manjunath made their concert a veritable musical voyage for the listeners. Perfect understanding and coordination between the duo and their control over the instrument were commendable.

‘Evari Bodhana’, the Abhogi varnam, in two speeds, led to an elegant Tyagaraja kriti ‘Hecharikka ra ra’ in Yadukulakamboji.

Manjunath’s essay of Vachaspathi for Papanasam Sivan’s ‘Paratpara’ was enriched by alternate bowing of swaras.

Nagaraj’s immaculate exposition of Varamu was tagged to Tyagaraja's’ ‘Manasuloni’. Next came a brisk rendering of Swati’s ‘Jayajaya Padmanabha’ in Manirang.

The brothers played Dikshitar’s ‘Maragathavally’ in the gayaki style and embellished it with an exquisite niraval at ‘Krooradaithyadi....’. A well-crafted ragam-tanam-pallavi in the 33rd vivadimela Gangeyabhooshani showcased their astute manodharma.

Manjunath introduced the pallavi ‘Palinchu Bangaru Kamakshi....’ in Khandhajathi Triputa tala by singing the lines melodiously. Ragamalika swara spectrum comprised ragas such as Syama, Kapi, Neelambari and Sindhubhairavi. The concluding Dhanasri thillana earned a standing ovation.

Parippally Phalgunan (mridangam) and M. Haribabu (ghatam) accompanied the violinists.