Vibrant notes

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pAr excellencePattabhiram Pandit
pAr excellencePattabhiram Pandit

Bi-decennial celebration of Sangeetha Parishath, Mangalore, was held at Ravindra Kalabhavan, with vigour amidst hundreds of sangeetha rasikas of Dakshina Kannada. The celebration was marked with a splendid concert by vidwan Pattabhiram Pandit accompanied by septuagenarian, Sangeetha Kalanidhi Umayalapuram K. Sivaraman on the mridangam, veteran Sundaresan on the violin and young Guruprasanna on Kanjira.

After the felicitation to Umayalapuram by Sangeetha Parishat, Pattabhi chose the ata tala varna Viriboni to begin with. The rendition was mesmerising with a style rooted in tradition. His rendition of Shri Jalandharam ashrayamyaham , a composition of Shri Jayachamarajendra Wadiyar in Gambeeranattai was soul touching with chittaswaram. The astonishing depth, involvement and knowledge of the artist were exemplary in unveiling raga Shanmukhapriya. It invoked sparkling response from Sundaresan on the violin, presenting a very nuanced rendition of the raga. Marivere Dikkevarayya in Shanmukhapriya, a composition of Patnam Subramanya Iyer was done justice with Pattabhi’s rendition of the anupallavi “Daridaapu leni naa jaali” (giving the bhaava that “you are the one who showed grace and spoke to me when I was in destitution”).

A Tamil composition by Periyaswamy Thooran “Muruga muruga enral” in Saveri (janya of 15{+t}{+h}melakarta raga Mayamalavagowla) was the most soothing rendition and Pattabhi was par excellence. The brisk phase of the concert was regained by an astute treatment given to “Manavyalakinchara” in raga Nalinakanti by Pattabhi with Umayalapuram unleashing himself on mridangam to set the tone for “Palinchu Kamakshi” of Syama Sastri in Madhyamavati.

The audience was overjoyed listening to Umayalapuram Sivaraman. The veteran maestro was exuberant in his playing with adept touches, modulation, tempo and tala. The taniyavartanam was stupendous and proved to be a testimony for his six decades of playing with dedication, hardwork and unsullied love for the art. The accuracy in his playing with marvellous control on tala shastra coupled with extreme control over the mridangam was a ‘packed dinner’ for the audience to take home.

The support provided by Guruprasanna on Kanjira was noteworthy, though he did not get the best chance to showcase his talent. On demand Pattabhi rendered devaranamas and invoked very positive response. “Kandu Dhanyanade” in Behag was the best along with “Hari Chitta Satya” and “Yadava Nee Baa”. The concert ended with Swati Thirunal’s thillana in raga Dhanashri.

Nanda Kishor Iyengar



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