Despite his age, octogenarian Palghat K.S. Narayanaswamy (KSN) sang with energy and enthusiasm at his vocal concert in Palakkad. That he is a stickler to tradition was amply demonstrated. Eschewing ostentation and fireworks of any kind, he provided chaste, unalloyed classical music, much to the enjoyment of the listeners. With his prudent selections, he ensured that the concert progressed smoothly.
Starting with the well-known varnam of Poochi Srinivasa Iyengar, ‘Neranammithinayya’ in Kaanada raga and Ada tala, he proceeded to ‘Gopalaka Pahimam’ (Revagupthi- Swati Tirunal), followed by ‘Naadasudharasa’ (Arabhi- Tyagaraja). The renditions brought out the devotional spirit of the kritis. The first raga alapana of the evening, Anandabhairavi, oozed melody. Shyama Sastri’s popular composition ‘Marivere gathi’ was replete with a cluster of appealing sangatis.
After a breezy ‘Marugelara’ (Jayanthasri- Tyagaraja), the vocalist took up Kharaharapriya for elaboration. It was adorned with delectable sangatis and akaaras. KSN’s interpretation of the Tyagaraja kriti ‘Ramanee Samaanamevaru’ brought happy reminiscences of Semmangudi, one of his gurus. The placement of phrasings in the niraval, in the pallavi of the song, showcased his manodharma. The swara combinations in the sarvalaghu pattern captured the listener’s attention.
The main raga Thodi was developed step by step, with the vocalist dwelling at each and every swarasthana, revealing its entire swaroopa. Choosing the kriti of Tyagaraja ‘Kaddhanuvaariki,’ the artiste presented an orthodox niraval at the charanam ‘Niddura nirakarinchi,’ followed by a garland of swara patterns, again in the sarvalaghu style. The concluding pieces ‘Maayagopapaala’ of Kavi Kuttamath in Kaapi and Balamuralikrishna’s thillana in Brindavana saranga, received spontaneous acclaim.
There were occasional slippages in the sruti, perhaps due to the vocalist’s age. Raveendran Achanath provided competent vocal support. KSN’s daughter Annapoorani’s violin accompaniment was perfunctory. G. Babu gave superb support during the kriti renditions but was aggressive in the tani in Adi tala, after the Thodi kriti. Udupi Srikanth’s ganjira support was splendid. The concert was organised by Palghat Fine Arts Society.
