Bharat Sangeet Utsav-2014, presented by Arsha Vidya Gurukulam and Carnatica, in association with Sri Krishna Sweets, featured a few samples of great music. The event took place in Coimbatore.
Priya Sisters — Shanmukhapriya and Haripriya — began with their guru T.R. Subramaniam’s varnam in Hamir Kalyani. After ‘Undedhi Ramudokadu’ in Harikhambodi by Tyagaraja, they rendered Syama Sastri’s swarajathi in Bhairavi. The javali ‘Nee Maatalae Maayanuraa’ by Pattabhiramayya, which is usually heard during the lighter session, was presented after an elaborate alapana of Purvikalyani.
‘Sri Kamalamba Jayathi’ in Ahiri, the ninth aavaranana kriti of the Kamalamba Navavaranam, was rendered with dignity. The sisters gave due respect to the masterly composition that declares that Kamalamba, who resides in the sarvananda chakra, alone triumphs. ‘Narayana Divya Namam’ as the centerpiece, was intensely appealing. The song, composed in a fit of divine ecstasy by Papanasam Sivan, filled the listeners with joy as the words full of devotion poured out in the sisters’ clear diction. The swara session that followed was invigorating. M.A. Krishnaswamy on the violin was at his best. Neyveli Skandasubramaniam on the mridangam and Tiruchi Murali on the ghatam gave admirable percussive support.
Gayathri Venkataraghavan was in excellent form and her concert was heart warming. With a complying voice her renditions were smooth and full of bhava at times and vigorous and torrential at others.
She began with the varnam ‘Dayaanidhae Maamava’ (Begada-Syama Sastri). ‘Raga Ratna Malika Chae’ in Ritigowla was presented with great involvement. Her delineation of Kalyani (‘Bhajarae Re Chitha,’ Dikshithar) was delectable and Charumathi Raghuraman (violin) proved a good match for Gayathri as the complicated swara phrases, rich in bhava, leapt forth through her young fingers. With charming chittaswaras, ‘Kaappadhuvae Un Baaram’ in Anandabhairavi preceded the main piece, a wholesome RTP in two ragas with the pallavi ‘Maal Maruganai Muruganai Thudhi Manamae.’ Manoj Siva (mridangam) and K.V. Gopalakrishnan (ganjira) kept the thani brief, but still showcased their mastery. A moving paraparakkanni, ‘Aaraa Amudhae’, completed the lighter session.
Beginning with ‘Kamakshi Navavaranam’ in Phalahamsa, Girija Hariharan sang a few rare kritis such as ‘Bhuvaneswari Navavaranam’ by Shantananda Swamigal, ‘Bhuvaneswaree Sadaanandakaree’ in Hamsadhwani and ‘Saraswathi Nanneppudu’ by Thiruvotriyur Thyagayya in the morning session, along with a few popular kritis. She was supported by Kovai Jayaprakash on the violin, Kovai Radhakrishnan on the mridangam and Kovai Manikantan on the ghatam.
Sandeep Narayanan , a disciple of Sanjay Subrahmanyan, showed glistening resemblances to his guru’s bani now and then. Beginning softly with the varnam in Sahana, he showered vibrant swarakalpanas for ‘Aananda Nadamaaduvaar’ in Purvikalyani by Neelakanta Sivan. Gambhira Nattai was majestic, true to its name and the lovely mallari that followed was pleasant. Tender as well as forceful, the swara session was enjoyable. Sandeep was quite at home while he depicted Kharaharapriya in an unhurried manner. This concert was proof of Sanjay’s generosity as a teacher and Sandeep’s receptivity as a student. It was a connoisseur’s delight. A confident Kandadevi Vijayaraghavan was equally good in his violin essays. T.R.S. Manikantan on the mridangam and G.D. Venkatasubramaniam on the ghatam gave able support.
Trichur Brothers - Sri Krishna Mohan and Ram Kumar Mohan - added another jewel to their crown with their concert. The crowd was proof of their well-deserved popularity. They chose their songs well and presented them aesthetically. There were very few songs, but each one was a treat. Dikshitar’s ‘Vatapi Ganapatim’ floored the audience with its vibrancy. Swarna Venkateswara Diksithar’s ‘Manamirangadha’ with its simple, moving lyrics, came alive in the duo’s impressive rendering. ‘Maadhavan Thaediyum Kanaadha Paadhanae’ was quite appropriate for the niraval. The siblings shared the credit for their excellent delineation of Abhogi preceding ‘Nagumomu’ by Tyagaraja. While Krishna Kumar prepared the ground, Ramkumar added the dazzles. They concluded with a Sai bhajan. Kandadevi Vijayaraghavan on the violin was as energetic as the vocalists. Trichur Mohan (mridangam) and G.D. Venkatasubramaniam (ghatam) made an excellent pair for percussive support.
Carnatica Brothers - K.N. Sashikiran and Chitravina P. Ganesh - gave a fitting finish to the festival with their vocal concert. They included many of the requests by the listeners and the choice of the songs gave credit to their taste. After opening their concert with the Ata tala varnam in Khambodi, ‘Sarasija Nabha,’ they sang ‘Endharo Mahaanubhaavulu.’ ‘Ardhanaareeswaram’ in Kumudakriya followed after a good alapana. Impressive swara kalpanas were rendered following a lovely niraval for ‘Aagamaadi Sannutham’. ‘Mokshamu Galadhaa’ in Saramati was the centrepiece with a lively thani by Srimushnam Raja Rao on the mridangam and Kovai Mohanram on the ghatam. The duo concluded the concert with a devout bhajan on Raghavendra and ‘Maitreem Bhajatha.’ Nagai Muralidharan’s violin was classy and added gloss to the concert.
The evening programme included the Bharatanatyam recital of Mahalakshmi Ashwin.
