Hardly do we come across ‘Taranga’ festivals, and often they are not even considered part of classical Carnatic concerts. Seventeenth century Narayana Teertha who penned Tarangas is said to have left some influence on Thyagaraja. To present the compositions of Narayana Teertha in concert form is bold attempt undertook by music organisation, Sampradaya and named it ‘Sampradaya Music and Bhajan Festival’. This was held at Vijaya Vinayaka temple auditorium in Vaninagar, Secunderabad.
D.L. Prachotan opened the fest and in his concert he started with Jaya Jaya Swamin in Naata zipped to a couple of tarangams, Ehi Mudam Dehi in Ananda Bhairavi and Sharanam Bhava in Devagandhari, before taking up the first elaborate raga of the evening Kambhoji.
Govinda Ghataya in Kambhoji was neatly rendered and was followed by Mangalalaya in Kedaragowla. A neat presentation of Kalyani Ragam and tanam in ragamalika comprising of ragas Bageshri, Kapi and Varali; that led to the main piece, Kathaya Kathaya Madhavam in Raga Kalyani. Thani Avarthanam by P. Srinivas Gopalan and M. Chandrakanth was exciting. Violin support by O.Rajashekhar, throughout was very good.
On the second day Vignesh Ishwar figured with B.V. Durga Bhavani on violin, K.V. Gopalakrishnan on mridangam and S. Hanumantha Rao on ghatam. Vignesh Ishwar, disciple of T.M. Krishna, enthralled the audience with fine vocal output in his rendition of Jaya Jaya Swamin in Nata followed by Paramapurusham in Kedaragowla, Shanke Shankaram in Thodi, Sharanambhava in Sourashtra with neat swaram and Aalokaye Rukmini in Kambhoji. Kalyani was his main raga and presented Kathaya Kathaya Maadhavam followed by tani avarthanam.
On the third day vocalist Anoop Krishnan, disciple of Nagendra Sastry took stage and began with the tarangam Jaya Jaya Ramanatha in Chakravakam and followed with Kalaya Kalayanani in Kedara ragam and made Damodara Taavaka in Poorvikalyani as his sub-main number. Rama Rama in Reethigowla set to Khanda Eka taala in Trisra gati was demonstration of his rhythmic sense. He concluded with Nanda Mukunde in Kambhoji was treated as his main number, a meticulous presentation.
On the fourth day J.S. Sriram, disciple of Akella Mallikarjuna Sarma was featured in the company of B.U. Ganesh Prasad on violin, Thiruvaroor Bhakthavatsalam on mridangam and Hanumantha Rao on ghatam. Sriram opened with Bandhananamochaya in Latangi that narrates an episode involving Balarama, Krishna and Kaliya. This was embellished with swarakalpana. Jaya Jaya Ramanatha in Athana, Damodara Taavaka in Dhanyasi was followed by sub-main number Veeksheham Kada in Purvi kalyani. Kalaya Yashode in Kharaharapriya was the main item. The tani avartanam was splendid.
The ace appearance in these sessions was the presence of veteran O.S. Thyagarajan in the company of B.U. Ganesh Prasad on violin, P.S. Phalgun on mridangam and N. Somayajulu on ghatam.
His concert was marked by the renditions of popular tarangas Sharanam bhava in Hamsavinodini, Govinda ghataya in Bhairavi, Veeksheham Kada in Aahiri and Narayanaya Namo in Madhyamavati. The end number was a moving tarangam Mangalaalaya Maamava Deva in Kedaragowla.
The Taranga festival was closed with Naama Sankeertans by P.S. Manian bhagavathar and A.V.K. Rajasimhan Bhagavathar followed by a ballet ‘Rukmini Kalyanam’ based on a set of Tharangas of Narayanatheertha coupled with verses from Bhagavata of Pothana. This was presented by J.S. Eswara Prasad and party.
