Event Rendition of great vaggeyakaras’ compositions were a treat at the AIR music fest. GUDIPOODI SRIHARI

Afestival of music was organised by AIR last week at Thyagaraya Ganasabha, aimed at presenting compositions of vaggeyakaras — Thyagaraja, Syama Sastry, Dikshitar, Annamacharya, Swati Tirunal and Veena Kuppaiyer.

On the first day Thyagaraja compositions were rendered by Vasudha Kesav supported by Charulatha on violin, Mannarkoil J. Balaji on mridangam and S.V. Ramani on ghatam.

She is blessed with fine vocal verve and is out and traditionalist.

However, her diction of Thyagaraja compositions was not clear.

Swati Tirunal

This was followed by rendition of Swati Tirunal compositions by Vechuri Sankar with Tiruvilavizu S. Anand on violin, V. Sanal Kumar on mridangam and Kannoor P.K. Santosh on morsing. Sankar belongs to a family of musicians and is known for his mellifluous rendition. His expression of Sanskrit words was laudable. Kalyani was his main raga of the concert which he essayed with grip on grammar.

Syama Sastri

On the second day veteran Coimbatore K. Sivaramakrishnan rendered Syama Sastri’s compositions.

Despite his age, he rendered all the numbers with authority and crisp tone. He was accompanied by K. Balasubramanian on violin, Kovailadi R. Madhvaprasad on mridangam, S.V. Subramaniyam on kanjeera. Most of these being vilamba kala kirtanas, vocalist chose just five numbers to present in given time.

Accompanists lent good support and brief tani by mridangam artiste in the main number added lustre to the rendition.

Annamacharya kirtanas

Sarada Subrahmanyam is a surprise pack in the list, for, her renditions oozed melody and emotion that Annamacharya kirtanas deserve, they being Sahitya Pradhana.

She first learned from her father I.V.L. Sastry and later went into the tutelage of Nedunuri Krishnamurthy.

Gifted with mellifluous voice, Sarada faithfully rendered all the numbers she chose for the occasion with perfect sahitya clarity and emotion.

She was accompanied by seasoned artistes Surya Deepti on violin, Peravali Jayabhasker on mridangam and Kesanapalli Krishna Prakash.

Annamachrya kirtanas need separate treatment unlike that of other vaggeyakaras. She reserved the technical elements for raga and swara essays and rendered this emotion ridden kirtanas as they should be sung.

Kuppaiyer and Dikshitar

The third day of AIR featured Palghat R. Ramprasad and Vishnubhatla Saraswathi, respectively rendering Veena Kuppaiyer’s and Muthuswami Dikshitar’s compositions, in the company of Embar S. Kannan on violin, Trivedrum V. Balaji on mridangam and S. Amruth on kanjira.

Ramprasad opened his concert with Intachala in Begada but restricted to single kala of swara presentation.

Then he went for Saraswathi Nanneppudu in Kalyani, which he treated as his sub-main number delineating Kalyani to satisfying levels bringing in all its beauties.

Vishnubhatla Saraswati began her concert with Nata alapana for Parameswara and her swarakalpana at the end was pleasing. She then gave brief picture of raga Ramapriya for Matangi Sri Rajeswari in Roopaka talam. Kirtana rendition was neat and with clarity of sahitya. The taniavartanam presented at this stage by Pinakapani and Hanumantha Rao spoke of their learning.