Adherence to tradition marked Tyagaraja Aradhana in Coimbatore

Music buffs were in for a rich aural treat at the 66th year celebration of Tyagabrahma Gananjali that took place at Kikani Vidya Mandir, Coimbatore. Concerts of eminent artistes were featured as part of the celebration.

Ramakrishnan Murthy’s musical wisdom was evident throughout the concert. Setting the tone of his kutcheri with ‘Sadguruswamiki’ (Ritigowla), ‘Nannu kannatalli’ (Kesari), which followed with swaras was a wholesome rendition. The latter reflected the bard’s fervent plea to Dharmambika to get him out of this life’s rut.

Adherence to tradition marked Tyagaraja Aradhana in Coimbatore

‘Entha vedukondu’ (Saraswathimanohari) with swaras sung in high and low ranges with ease gave the listeners a glimpse of his vision. ‘Eti janma’ in Varali was an esoteric version. His Khambodi version for the kriti, ‘Sree Raghuvamsaprameya maamava’ was a fine mix of his saadhakam and vidwat. Vittal Rangan’s (violin) essays were like a journey through a picturesque landscape either in raga essays or swara repartees creating a serene mood. Bharadwaj (mridangam) and Athreya (ganjira) embellished the session with exuberance and subtlety.

Impeccable rendition

Vijay Siva’s scholarly session was a fine blend of his sampradaya discipline in raga expositions and emphasis. ‘Nennarunchara’ (Malavi) with swaras set the tone of the kutcheri. His raga portraits of Hamirkalyani, for the kriti, ‘Abhimanamuleda’ and Manirangu for ‘Raanidhiradu’ were embellished with imaginative phrasings in a tone of intense devotion.

Adherence to tradition marked Tyagaraja Aradhana in Coimbatore

The raga alapana of Sankarabharanam for the kriti, ‘Etudanilachite’ was marked by picturesque prayogas and karvais softened by melodic graces.

The more he delved deep into the raga the more nuggets he brought out to enhance Shankara. Chandramouli’s sound playing of the solo versions and swaras was a crisp combination of the sensitivity and style of the framework of the ragas. K.V. Prasad (mridangam) and Krishna (ghatam) served their roles with complete competency including an exuberant thani.

Well-crafted sangatis

Sankari Krishnan’s resonant voice and zestful raga bhava coupled with her confidence and swanubhavam were received with wide acclaim.

Adherence to tradition marked Tyagaraja Aradhana in Coimbatore

The opening ‘Maakelera’ (Ravichandrika) with swaras setting the tone of the session was followed by a beautiful Pantuvarali raga format for the kriti, ‘Naradamuni’ with an amalgam of delicate cadences and well-crafted sangathis bringing out the essence of the raga. The Madhyamavathi raga vinyasam with long karvais was an exquisite portrait of the raga for the kriti, ‘Devasri thapastheertha pura nivasa,’ rendered with gusto. Kharaharapriya portrait for the kriti, ‘Chakkaniraja’ with evocative phrases was an impressive presentation with an exciting niraval. Ranjani’s (violin) support was wholesome in raga alapanas and swara repartees.

Manoj Siva (mridangam) and Subramaniam (ganjira) lent distinctive laya support with flashing patterns embellishing the songs.

The banding of Vittal Ramamurthy (violin) and V.V.S. Murari (viola) on the following day was noteworthy not only for unfolding the richness of ragas but also for their rendition and choice of songs shorn of frills. ‘Meru samana’ (Mayamalavagowla) with swara exchanges between the artistes was a grand display of classicism. ‘Entharo’ in Sree ragam with swaras was an inspiring presentation. Their raga alapana of Abheri for the kriti, ‘Nagumomu’ gave a succinct picture of the raga and the song itself was an evocative version. The songs played blended with the total harmony of the musical sounds of the viola and the violin. The other items on their agenda included ‘Bantureethi’ (Hamsanadham), ‘Syama sundara ranga’ and ‘Gaanamurthe.’ The laya beats by Mali (mridangam) and Suresh (ghatam) were equally enjoyable as there was total harmony in the rhythm that they played.

Scholarly interpreations

Ashwath Narayanan, disciple of P.S. Narayanaswami, has all the ingredients of an accomplished singer. His commitment to the core of Carnatic music with his heightened ability to consciously tap his manodharma linked to an obedient voice was the hallmark of the final day’s concert.

Adherence to tradition marked Tyagaraja Aradhana in Coimbatore

His opening ‘Enthanerchina’ (Suddhadhanyasi) was a heart-warming rendition paving the way for a scholarly interpretation of ‘Sri Raghukula’ in Hamsadhwani with swaras. His delivery of ‘Sree Rama Jayarama’ and ‘Kalalanerchina’ (Dheepakam) were soaked in divine ecstasy. Kiravani raga portrait for the kriti, ‘Kaligiyunte’ with karvais and intrinsically braided passages brought out the musician’s potential.

Rahul (violin) responded with fluid ease in the melodic segments during his solo versions and swara sallies. The percussion support of Sumesh Narayanan (mridangam) and Alathur Ganesh (ganjira) in the laya wing was of a high order that included a lilting and an exuberant thani.

Led by senior musicians, Sivaramakrishnan and Vijaya Jaya, many local vidwans paid their homage to the bard of Tiruvaiyaru by rendering his composition on the occasion.

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Printable version | Jul 28, 2021 1:26:51 PM |

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