It was an exhilarating experience for the audience to listen to vintage music offered by octogenarian T.V. Gopalakrishnan, popularly known as TVG, at the Palghat Fine Arts Society, Tharekkad. TVG is a multifaceted artiste – a mridangam maestro, a competent vocalist and violinist, and a well-known guru. He is familiar with Hindustani music too.
Despite his advanced years, he sang with undiminished zest, keeping up a lively momentum throughout his recital. Obviously his distinct voice has not lost its timbre. The splendid vocal support provided by Devi Neithiyar gave a major thrust to the concert.
TVG began majestically with the Saveri raga varnam ‘Sarasuta ninne’ of Kottavaasal Venkatrama Iyer. Muthuswami Dikshitar's ‘Vataapi Ganapathim’ in Hamsadhwani sparkled with unique swara combinations. Arabhi’s aural portrait was followed by a sprightly rendition of Tyagaraja’s Pancharatna kriti ‘Saadhinchane’ that captured the quintessence of the raga.
The vocalist’s elaborate alapana of the rare raga Kalaanidhi (derived from the 22nd mela Kharaharapriya), embellished with fascinating sangatis, was a grand treat. He also explained the salient traits of the raga.
Enchanting ragas His portrayal of Tyagaraja’s ‘Chinna naata na’, probably the only composition in this raga, unfolded the innate beauty of the song. The innovative swara korvais, especially those ending with ‘ri’ were captivating.
Hamirkalyani is a raga with a tinge of Hindustani flavour. TVG’s enunciation of the raga, enriched with a plethora of akaaras, showcased his expertise in voice culture. His sancharaas in ‘Anumantrasthayi’ were awe inspiring.
Excellent support Devi supplemented it with an enchanting version of the raga with classical Hindustani touches, displaying her prowess. Her effortless movements in all the octaves revealed her competency in Hindustani music. The chosen kriti was Swati Tirunal’s ‘Gangeya Vasana’.
The speedy rendition of ‘Trilokamaata’ in Paras, a Syama Sastri kriti, was succeeded by a pleasing essay of Abheri. TVG left it to Devi to elaborate the raga. She did full justice with her in-depth treatment. Her sancharaas in the Thaarasthayi deserve special mention. Tyagaraja’s famous kriti ‘Nagumomu’ was presented with astute bhava. However, the niraval and swaraprastharas were rather short, perhaps due to time constraints.
TVG’s interpretation of ‘Karuna cheyvaan’ in Yadukulakambhojhi, composed by Irayimman Thambi, evoked memories of his guru, the great Chembai Vaidyanatha Bhagavathar. Devi’s moving rendition of the Ashtapadi ‘Radhika Krishna’ in Sivaranjani was full of Bhakti rasa. TVG concluded with ‘Bhagyadha Lakshmi Baramma’, a composition of Sri Purandaradasa, followed by his own Thillana in Behag and the soul stirring slokas ‘Agrepashyami’ and ‘Yogeendraanam’ from Narayaneeyam.
Extending outstanding support, R. Swaminathan (violin) showcased his admirable manodharma in his raga versions and kalpanaswaras. His sketch of Hamirkalyani in the typical Parur style was remarkable. Ambur U. Padmanabhan’s support (mridangam) was valuable. His dexterous beats merged well with the vocalist’s renditions. Kottayam Unnikrishnan (ghatam) was equally good with his subtle display. Both regaled the listeners with their robust tani in Adi tala.
