The Thyagaraja Aaradhana festival organised by Vignana Samithi that has a long history of encouraging Carnatic musicians from all regions.Their members are also sticklers for tradition and chaste classicism in music. So they began the week-long festival last week with the ‘unchchavrithi’, ‘kalasa sthapana’, Vedic-hymns chanting and nadaswaram. This was followed by a felicitation of legendary percussionist Yella Venkateswara Rao by LV Subrahmanyam, Nendraganti Krishnamohan, Suri Venkateswarulu, Sugnan Vemuri and others. The title of Sangeeta Vignana Visharada was conferred on him.
Buoyant group singing
Following this, around 250 vocalists and instrumentalists came together for the brindagaanam aka goshti gaanam (group singing)of Thyagaraja’s Pancharatna kritis. It was a spirited and melodious rendition by the lead artistes like D Raghavachari of Hyderabad Brothers fame, the Hyderabad Sisters, Yella Venkateswara Rao, Komanduri Seshadri, Seshulatha Vishwanath, Vasa Gopinatha Rao and others.
However, there were two issues: The sabha should have positioned at least two artistes to maintain talam in a place where everyone could see them, in a group-singing situation, to help involve more people in the music. Second, it was disappointing to note the lack of youngsters in the audience. With so many eminent gurus present, it was expected that their young students would also participate in this Aaradhana.
The festival gave a platform for short-duration concerts to many numerous youngsters and there were many who shone and showed promise of eminence in future.
A few novices among these artistes did however falter in places, as they missed a beat or went slightly off-pitch, but it was good to see them earn valuable concert experience.
The main concerts of each day featured well-known professionals among the vocalists and professionals. There was complete fidelity to Thyagaraja with his compositions alone being rendered on all days.
On the first day evening, Mangalampalli Swarna sang with composure and competence selecting not only rare kritis but also rare ragas for most part. These included Ninne Bhajana (- The Paritapamu ganiyaajana (Manohari) was an example of a rare composition in a rare raga Effective support came from Radhika Srinivasan (violin ) and B Janardhan (mridangam).
The highlights of vocalist Kaivalya Kumar’s concert were his mellifluous renditions, clarity of voice, and grip over grammar. His good chemistry with B Pawan Singh (violin), Ramakrishna (mridangam) and M Chandrakanth (ghatam) enhanced the concert. He chose to make vivadi ragas the mainstay of his concert; a challenge he rose to competently with the strength of his talent and shruti-shuddham.
On the second day, a Kuchipudi dance performance by the talented Ponnuru Kranthi Kumar and his disciples provided variety.
New voices
An up and coming artiste, vocalist S K Mahathi impressed with her command of shruti, laya and aesthetics of music. The items with which she held the audience in thrall included Chala kallaladu konna (Aarabhi Ragam); Sadaamadin Thalatugadara (Gambhiravani) and the main Kaligiyunte (Keeravani) where her manodharma was amazing. The well-known compositions Srirama Jayarama Sringara Ramayani (Yadukulaaambhoji) and Haridaasulu vedale (Yaman) resonated with the audience. Vishnunhotla Sivani (violin), Ramachandra (mridangam) and B Janardhan (ghatam) enhanced the concert with their excellent accompanying music.
The third day also held many delights for connoisseurs. Mandolin Saigovind is a gifted young instrumentalist and his dexterity with the mandolin that has become a prefix of his name is earning him much appreciation. He was accompanied by N C Anantakrishna (violin) and T P Balasubramaniam (mridangam).
Vocalist Akondi Srinivasa Raaja Rao gave a measured and mature performance which featured Ninne bhajana ( Naata) with swarakalpana; Naadasudha Rasambilanu (Aarabhi); and the composition which addressed the Shiava-Vaishnava debate of that day, namely Yevarani nirnayinchedira (Devamruthavarshini) which was an eloquent rendition and rich in bhaavam. He received commendable support from R Dinakar (violin), P Vidyasagar (mridangam) and Sreedharachari (ghatam) .
Day Four saw Rayaprolu Sudhakar’s engaging veena recital. He started with Srigananadham Bhajamyaham (Kanakangi) followed by Ramanee Samanamevaru (Kharaharapriya); and Samaja vara gamana (Hindolam) with elaborate thanam and swarakalpana which was creative and scintillating. He ended with Gandhamu Puyyaruga (Punnagavarali). He was accompanied by G Omprakash (mdridangam) and M Chandrakanth (ghatam) .
Pitch perfect
This was followed by a vocal concert of S Saketaraman, ably accompanied by R Dinakar (violin) and DSR Murthy (mridangam). The brilliant veteran Nemani Somayajulu rendered ghatam support. Saketaraman gave a full-throated and energetic performance, rich in bhava and melody.He handled ‘thara sthaayi’ with ease and hit the notes perfectly while staying there. Banturiti (Hamsanadam) which interestingly commenced with the anupallavi words ‘Tuntavintivani’, drew well-deserved applause
Day Five had two vocal performances, by Mridula Aswin and S Sankar. Mridula’s main item was Rakshabettare (Bhairavi) with alapana, neraval and swarakalpana at ‘Sangeetapriya’ of charanam. She was accompanied by Chaganti Ramya Kironmayi (violin) and R Srikanth (mridangam). Sankar —accompanied by O Rajasekhar (violin) and R S R Srikanth (mridangam) and P Srinivasa Gopalan (morsing) — rendered Gurum Asrayeth (Kedara), Meru Samanamevaru (Mayamalavagoula), Yenthani Ne varnintunu sabari (Mukhari) with raagalapana. He concluded with a Thyagaraja Mangalam in Ragamalika.
Day Six featured Adithi B Prahlad whose richly melodious vocals, and command over shruti and laya mark her out as an excellent young talentof Carnatic music. The highlight of her concert was Maaravairi Janani (Naasikabhushani) with impressive raagalapana. She was accompanied by Vasu Viswanatha Sastry (violin) and Krishna Sravan (mridangam).
Flautist Sikkil Mala Chandrasekhar's formidable talent, complemented by her brilliance and and chaste classicism, was evident as she began with Brochevarevare (Sri Ranjani) after a short ragalapana and moved on to others, to other compostions like . the metaphor-rich krithi Terateeyaga raada (Gowlipantu) and the main item Kaligiyunte kadaa (Keeravani) The gentle Uyyalaluugavayya (Neelambari).
Accompanying Mala with elan and enriching the concert were Mallajyosyula Srikanth (violin), P.Jayabhaskar (mridangam), Hanumantha Rao and Ghantasala Sathya Sai on morsing.
Modumudi’s magic
Devotion to classicism Modhumudi Sudhakar, (below) group singing at the Aarandhana
The final day featured vocalist Sudhakar Modumudi who is known for his complete command over the grammar an aesthetics of music, which were much in evidence in his concert. He was accompanied by Dwaram Satyanarayana (violin), Yella Venkateswara Rao on mridangam, and PV Ramanamurthy.Sudhakar rendered a detailed Ye Ramuni nammithino (Vakulabharanam) with ragalapana and swara kalpana.
