Navaratri evenings at Pazhaya Nadakkavu Erinjeri Karthyayini temple in Thrissur are a veritable treat for the senses, and have been so since the inception of its annual classical music fete 24 years ago. This year too the 10-day festival featured eminent and up-and-coming classical musicians.
Among the well-known singers, Chenkotta Harihara Subramanian began his concert with an Ada tala varnam in Kanada and went on to ‘Panchamathanga' (Malahari-Roopaka-Dikshitar). He rendered Bhairavi with an elaborate alapana, which led beautifully into the GNB kriti ‘Gativerevar Amma,' set to Mishra Chapu tala. The symmetrical construction of the manodharma was impressive. ‘Darini Telusukonti' (Shudda Saveri-Adi-Tyagaraja) was fast-paced and full of gamakas. ‘Devibrova Samaymitay' (Chintamani-Adi-Syama Sastri) showcased the versatility of the artiste.
The main composition by Papanasam Sivan in Sankarabharanam had a brilliant raga vistharam which was echoed by the violinist Trivandrum Sampath. Tani by Urakam Jayaraman (mridangam) and Manjoor Unnikrishnan (ghatam) upheld the high standard of the concert. A Tamil composition, ‘Amba Kripa Tandu Rakshi,' in raga Kapi was preceded by a viruttam in ragamalika. The vocalist concluded with a tillana in Sindhubhairavi.
A class apart
Chertala Ranganatha Sharma proved once again that he is in a class of his own. The vocalist began with a varnam composed by his guru, T.R. Subramaniam, in Hameerkalyani, set to Adi tala. An invocation to Ganapathi came as a keertana in Arabhi. Nasikabhooshani, with its characteristic ‘shat sruti' Rishabham, was pleasing. Tyagaraja's kriti in Adi tala (Tishra gati) about Goddess Parvathi – ‘Mara Vairi Ramani,' with niraval at ‘Krura Danava' and manodharma in the opening line, followed.
The vocalist varied the fare with the slow-paced ‘Bhogindra Sayinam' (Kuntalavarali-Swati). His alapana of Reetigowla was elaborate and intricate, with C.S. Anuroop on the violin keeping good pace. The chosen kriti was ‘Janani Ninu Vina' by Subbaraya Sastri. Karnaranjini made a brief appearance with Muthaiah Bhagavatar's ‘Vanchadonuna.' The singer's rich voice made the alapana of the main raga, Saveri, a treat for the rasikas. Myriad swara patterns formed the niraval at the phrase ‘Kadamba Vana Nilayay,' embellishing ‘Sree Kamakoti Peetha Stitay,' a Mysore Sadashiva Rao kriti in Adi tala.
Prasanth provided able support with the vocals. K. Jayakrishnan (mridangam) and Vellatanjoor Sreejith (ghatam) engaged in a coordinated taniavartanam. A Surdas bhajan in raga Kalyanavasantham and a Tillana in Des completed the concert.
V.R. Dileepkumar, a veteran at the festival since its inception, enthralled the audience with his control and form. The vocalist launched his concert with a Dharuvarnam, ‘Mathe Malaya Dhwaja' in Khamas. ‘Guruleka Yadu Vandi' (Gowrimanohari-Khanda Chapu-Tyagaraja) and ‘Sarasija Nabha Sodari' (Nagagandhari-Roopaka-Dikshitar) followed in quick succession. He sang Tyagaraja's ‘Ravichandrika' (Harikamboji, janya raga) with a brief niraval at the opening line, ‘Niravadi Sukhada Nirmala Roopa.'
The artiste chose to delineate the rare raga Kanthamani. The 61st melakartha raga, it stands apart for its distinctive ‘shudha nishadham.' Edappally Ajithkumar on the violin complemented the delineation. The main raga was Kamboji and an RTP was included in it. The vocalist's opening alapana was masterful. Wave after wave of intricately woven swaras flowed into the packed hall during the tanam. The pallavi was addressed to Goddess Kamakshi. He then moved into a ragamalika, briefly touching Kapi, Bhoopalam, Valaji and Kamboji. A short kriti in Yamunakalyani and a javali in Parasu brought the concert to an end. Tani avartanam was a let down, with a passive Elamkulam Deepu (ghatam) failing to catch up with an aggressive Palakkad Maheshkumar (mridangam).
Pattabhiram Pandit is not yet a familiar figure in Kerala. This disciple of Palghat K.V. Narayanaswamy began with a varnam in raga Sree and went on to ‘Karpagambay' (Bilahari-Adi-Papanasam Sivan). He seemed a little ill at ease.
In ‘Pahi Parvatha Nandini' (Arabhi-Adi-Swathi ), swaraprastharas fell short of communicating the raga bhava. It was no different with ‘Mokshamu Galada' (Saramathi-Adi-Tyagaraja), where the melody was overshadowed by technique.
Rich timbre
However, the artiste settled down midway through the concert. The rich timbre of his voice added depth to the alapana of Charukesi. With his noticeable mastery over technique, he constructed extensive and exquisite passages. T.H. Subramaniam on the violin came up with beautiful swaraprastharas. ‘Kripaya Palaya Showray,' the well-known Swathi kriti, exceeded expectations with an elaborate niraval at ‘Narada Mukha.' ‘Vida Jala Dura' (Janaranjini) and ‘Bhogindra Shayinam' (Kuntalavarali) found the artiste at his best. Dikshitar's composition ‘Balagopala Palaya shumam' (Adi tala) had substantial niraval and manodharma aspects.
There were amazing moments of unison with the vocal, violin, and percussion coming together in a crescendo. During taniavartanam, K.V. Prasad (mridangam) and Udupi Sreedhar (ghatam) displayed the kind of understanding that only artistes performing together for decades can have.
The highlight of the concert was the impromptu ragam-tanam-pallavi by Pattabhiram. The violinist and the singer seemed to outdo each other in pursuit of excellence. ‘Marubari tala lenu ra,' a javali in Khamas by Dharmapuri Subbaraya Iyer, brought this lively concert to a close.
