Carnatic vocalist and playback singer P. Unnikrishnan has managed to create a style of his own.

P. Unnikrishnan wooed rasikas in Palakkad with his pliable voice. While musicians tend to imbibe facets of their guru's style, Unnikrishnan has managed to create a style of his own.

He began the concert with an Adi tala varnam (sung in two speeds) in Saveri. He was ably supported by T.H. Subrahmaniam on the violin, Cherthala Ananthakrishna on the mridangam and Manjoor Unnikrishnan on the ghatam.

He continued to woo rasikas with two lilting numbers – Tyagaraja's ‘Sugunamule' in Chakravakam and Krishna Iyer's ‘Paramapavana.' The former was adorned with sprightly manodharmaswara.

His masterpiece, a dazzling Thodi, was marked with sancharas and fast but polished sangatis. A Swati kriti, ‘Pankajakshanam Ramesan,' followed, with a delectable niraval at ‘Padmanabha pahi pahi…'

Tyagaraja's ‘Bagayanayya' in Chandrajyothi led to the highlight of the concert, an alapana of Sankarabharanam, which had brilliant sancharas. The piece culminated with some vintage Sankarabharana phrases, which floored the rasikas.

T.H. Subrahmanian's melodious delineation brought out the subtle nuances of the raga.

Dikshitar's ‘Akshayalinga vibho' in Misrachappu tala had niraval at ‘Badareevanamulanayika….'

Tani by Ananthakrishnan and Unnikrishnan had vivid laya patterns.

Devotional songs

As usual, the second half of Unnikrishnan's concert was packed with devotional pieces. Rajaji's ragamalika ‘Kurayondrumillai,' Sadasivabrahmendra's ‘Pibare Ramarasam' in Ahirbhairavi and ‘Jagadodharana' of Purandaradasa in Kapi evoked piety. The concert ended with a Thillana in Hamsanandi. The concert was organised by Palghat Fine Arts Society.

Keywords: Carnatic music