The vocalists rendered songs in three languages.
Sarvani Sangeetha Sabha Trust, known for organising concerts that bring to light lesser known composers, had invited performers from Andhra Pradesh, Kerala and Karnataka, in a three-day event held at Ragasudha Hall. Sarvani remembered T.R. Subramaniam and P. Obul Reddy, for the unstinted support and encouragement they had given to this Sabha.
Modumudi Sudhakar (Vijayawada), of the of Parupalli Ramakrishnayya Pantulu lineage, rendered compositions in Telugu and was in the company of Anjana Sudhakar (vocal support), Sarvasri Palaparti Nageswara Rao (violin), Sasidhar (veena) and Sadgurucharan (mridangam). Sudhakar began his concert with a composition in Bouli. His single alapana of Kalyani (Birana Nannubrova, Bommaraju Seetharamadas, tuned by Sudhakar) was enough to show the aesthetics inherent in him. His voice had a soothing quality that lent and maintained a meditative atmosphere. Another song of the same composer was rendered in Mohanam (Bakthi Bikshandehi). The composition that touched a chord was came close to your heart was Rama Rama Enaradha by Prayaga Rangadas, made popular by Sri Balamuralikrishna. Bhadrachala Ramadas’s lilting melodies - Sriramula Divyanama (Saveri), Hari Hari Rama, and Thakkuvemimanaku (Chakravagam) - all familiar ones, were rendered, along with the by-now famous Ramachandrunithadu (Annamayya).
The periodical interspersing of musical sounds from the violin and veena, sometimes harmonising and at other times giving brief alapanas and time-bound thanams, added to the integrity of the concert. An Adhyaathma Ramayana Kirthanai in Dhanyasi (Subramanaya Kavi), a fine song in Panthuvarali authored by Venkatadri Swami and two compositions of Prakasha Dasu (Ramulavari Mata in Kedaragowlai and Panthamuladudhamma) completed the fare.
Sudheer Warrier (Kerala) rendered the compositions of Swati Tirunal and some other composers in Malayalam. Of the dozen compositions rendered, six belonged to Swati Tirunal and three were by Irayaman Thampi. Two signature pieces of Swati Tirunal that were sung were ‘Janani Mamava’ (Bhairavi) and ‘Bhogindra Saayinam’ (Kunthalavarali). One also listened to a slokam from Mayoora Sandesam (Keralavarma Valiyakoyi Thamburan) and another song dear to everyone, ‘Harivaraasanam’ (Kulathur Srinivasa Iyer). Ananthakrishnan (violin) and Sridutt Pillai (mridangam) lent support that enhanced the serenity of the concert.
Sudheer Warrier, a student of the late Veena Venkatraman is adequately trained in Kathakali Padam under Gopalapisharodi and the late Kalamandalam Sankaran Embarnthiri. This probably accounted for the solidity that appeared in his singing.
Saitejus Chandrasekhar, disciple of Vidushi Rupa Sridhar, (faculty at the Department of Music, Jain University, Bangalore) gave a concert that had songs of Purandara Dasa and other Kannada composers. One remembers listening to Saitejus’ voice often when he was an active compere on Radio Shruti, the 24-hour Carnatic music channel (World Space). The songs rendered that evening stood out for their variety and included two compositions of Harikesanallur Muthiah Bhagavathar – ‘Maate Malayadhwaja’ a familiar daru (Khamas) and the oft-sung Bhuvaneswariya (Mohana Kalyani). Listening to two compositions of Purandara Dasa – Gummana Kareyadire in Reethigowlai, Pogadirelo Ranga (Sankarabharanam) and another of Kanakadasa, Nammamma Sharade (Hamsadhwani), notable for its use of colloquial language - was a pleasurable experience.
The other songs were Kayou Sri Gowri by Basavappa Sastry, set to tune by Maharaja’s band master Bartels and Veena Seshanna, Shiva Ninna (Anandha Bhairavi), Indivara Nayane by Harapanahalli Bhimava, Sharana Mahime authored by philosopher-statesman Basavanna and Ithaange Iruveno composed by Sripadarayaru(Maand). Saitejus’ accompanists were Arjun Diwakar on the violin and Raghu Bhagavath on the mridangam who acquitted themselves creditably. Saitejus has to be thanked for giving a brief note about each song before its commencement.