There was a time when patriotism was subtly woven into seemingly lively songs. ‘Aadu Raattae, Suzhandraadu Raattae’ is one such that asks the raattai (the spinning wheel) to keep revolving, proclaiming that freedom has come and all good things are happening in our country. The hugely popular number, originally sung by D.K. Pattammal and penned by Namakkal Kavinjar Ramalingam Pillai, was presented by the students of PSG institutions at the PSG Kadambari Music Festival brought forth memories of the pre-independence era. The annual four-day festival gives a platform to emerging talent from the institution and also features well-known artistes.
On the first day, there was a group presentation of Carnatic vocal music by the students of the Department of Carnatic music, PSGCAS, and a few from other institutions participated. This being the Centenary year of D.K. Pattammal, many of the popular songs from her repertoire were chosen.
They began with Saint Tyagaraja’s Pancharatna kriti, ‘Endharo Mahanubhavulu’, in Sri ragam and moved on to ‘Kanjadalaayadaakshi’ in Kamala Manohari and ‘Ranganaayakam’ in Nayaki by Dikshitar. The delightful ‘Dasarathaathmaja Neeku’ (from the album ‘Sampradaya Pelli Paatalu’), the eternal favourite ‘Eppadi Paadinaro’ and ‘Shanthi Nilava Vaendum’ were rendered as a tribute to the doyenne of Carnatic music. Brindha Raghunath and S. Raghunath accompanied them on the violin and mridangam respectively.
Following that, there was an award function honouring Sathyaprakash Dharmar, Carnatic vocalist and playback singer with the title, ‘Yuva Kala Ratna.’ Rama Kausalya, managing trustee of Marabu Foundation, Thillaisthanam, Tiruvaiyaru, was the chief guest and K. Chithralega, programme head, Prasar Bharathi, All India Radio, was the guest of honour. This was followed by Sathyapraksh’s semi- classical concert.
Rendered with confidence
On the second day, T. Shanmuga Bhagyashri, a student of PSGITech and Aparna Gopalakrishnan, a student of PSGCAS, presented solo vocal concerts. Endowed with a good voice, the former sang with confidence choosing ‘Nagumomu,’ ‘Nenarunchinaanu’ and ‘Maadu Meyikkum Kannae,’ along with a virutham and thillana. And for her concert, Aparna sang carefully chosen compositions, with involvement.
She began with the Navaragamalika varnam and presented ‘Dhyaanamae Tharumae Paerinbamae.’ After portraying Thodi briefly, she sang ‘Kaarthikaeya Gaangaeya’ with niraval and swaraprastharas. Her ‘Anumaanae Saamikkindha’ and the Thiruppavai were appropriate additions. She concluded with the thillana in Mandari. The solo vocalists were supported by Sriranjani Ramkumar on the violin and Vadasithur Radhakrishnan on the mridangam.
That was followed by the lively ‘Swaralaya Lahari’, comprising S.V. Subramaniam (Electronic organ), S.V. Guruvayurappan (violin), G. Prakash (mridangam), Jagannathan (morsing) and Palakkad Dipu (ghatam). ‘Vaataapi Ganapathim,’ ‘Saravana Bhava Ennum’, ‘Endharo Mahaanubhaavulu’ and ‘Maragathavalleem’ were some of the major compositions featured in their concert.
On the third day, K. Ramachandran of PSG College of Technology presented a solo concert with earnestness. He began with ‘Sri Mahaganapathae’ in Nattai by Mayuram Viswanatha Iyer. There was variety in his choice. Dikshitar’s ‘Pranathaarthiharaaya Namasthae’ in Samantham and ‘Manamae Inimael Mayangaadhae’ by Madurai Mariyappaswamy were rare delights. His depiction of Subha Pantuvarali and rendering of ‘Ennaallu Oorakae’ by Tyragaraja were filled with karuna rasa. He concluded with the soothing thillana by Maharajapuram Santhanam in Vasanth Bahar. S.V. Guruvayurappan accompanied him on the violin and Vadasithur Radhakrishnan gave him rhythmic support on his mridangam.
The live-wire concert by Trichur Brothers - Krishna Mohan and Ramkumar Mohan - was a good example of judicious selection and perfect planning. There were many Tamil compositions, such as ‘Manam Irangaadhaa’ in Mayamalavagowla by Swarna Venkatesa Dikshithar, ‘Raamanukku Mannan Mudi Tharithaalae’ by Arunachalakkavirayar and ‘Piravaa Varam Thaarum’ by Papanasam Sivan. The brothers brought out their skill in depicting the ragas during the alapana of Lathangi. The niravals for ‘Kanaka Sabhaiyil Dinamum’ (Manamirangadhaa) and ‘Pattam Katta Etravandee’ (Ramanukku) were full of ragabhava. However, the lion’s share was given to the swara sessions that began like soft drizzles and progressed into strong showers and turned torrential, all along, retaining the sowkyabhavam. ‘Bho Shambho,’ ‘Jagadodhaarana’ and ‘The English Note’ added devotion, tenderness and vigour. The tanam in between ‘Bho Shambho’ was delectable. Sai Rakshith on the violin was their melodic shadow. The young violinist showed maturity far beyond his age. Trichur R. Mohan (mridangam) and G. Suresh (ghatam) lent majesty with their rhythmic mastery.
On the final day, there was a light music programme by the students of PSG institutions.
