Concerts The musicians, at the Tyagaraja Aradhana held in Coimbatore, explored the ragas and sancharas with maturity. T.K. Ganapathy
T richur Brothers (Srikrishna Mohan and Ramkumar Mohan) moved the audience with their vibrant voices at the Tyagaraja aradhana celebrations held in Coimbatore. Their bhava-filled renditions from the beginning to the end, were winsome. ‘Theliyaleru' (Dhenuka) and ‘Ninne Bhajana' (Nattai) were presented with restraint. Their alapana of Hamsanandhi for the kriti, ‘Bantureethi' with spiralling musical phrases were full of melodic strains. ‘Nannuvidachi' (Ritigowla) was a soul-touching presentation.
The grammatically flawless exposition of Kharaharapriya, the main raga of the kutcheri, from the base to the crescendo with elegant sangatis and sancharas was well received.
The kriti, ‘Samanamevaru' with niraval and swaras was spell-binding. ‘Hecharika' (Yadukulakhambodi) and ‘Koluvaiyunnade' (Devagandhari) were the other items on their musical agenda.
Ajit's violin accompaniment with honeyed phrases from his strings in raga vinyasams and swaras were on the same key. Mohan (mridangam) and Suresh's (ghatam) percussive patterns and changing nadais revealed their glowing images and laya facets.
Adhering to classicism, Vijay Siva's wide repertoire was drawn into his erudite kutcheri reflecting his tutelage under D.K. Jayaraman. The spontaneity of his elegant expression in the opening piece, 'Maapalavelasi' in Asaveri followed by a
brief alapana of Begada for the kriti, ‘Neevera Kuladhanamu' exuded the raga bhava. His handling of the Kalyani raga vinyasam for the kriti, ‘Ammaravamma' through the octaves with mellow prayogas stressed the gana-naya facets spiritedly.
The main raga of the recital, Mukhari for the kriti, ‘Muripemugaligegada' negotiating the sangatis and sancharas was explored in depth with maturity. A rare piece, ‘Praananatha Biraana Brovave' was full of emotional tenderness. Chandramouli's mature violin support pitched mainly on the melodic aspects of Begada, Kalyani and Mukhari besides the swara repartees. Manoj Siva (mridangam) and Sridharkumar (ganjira) bolstered the concert.
V. Sankaranarayanan's vocal music session on the final day of the aradhana was a sensible mix of melody and rhythm. The lively version of the Navaragamalika varnam, ‘Valachi,' as the curtain-raiser impelled the rasikas to expect a substantial musical fare from this promising artist. His Bhairavi alapana for the kriti ‘Koluvaiyunnade' capturing all the nuances of the raga was a bhava-filled exercise. Kalyani raga delineation with strands of enchanting sancharas turned the raga into a charming edifice for the kriti, ‘Enduko Nee Manasu' rendered with a stimulating niraval and brisk
kalpanaswaras. The sangatis in the well-chosen kritis – ‘Vandanamu,' ‘Marukelara,' ‘Rama Raghukula,' etc., were mellow with sensitive structuring.
Balasubramanian's violin accompaniment was supportive. The rhythmic laya exercise of Prakash (mridangam) and Rajaganesh (ganjira) provided quality patterns during the session with a comfortably developed thani.