Chembai Memorial Government Music College, Palakkad, organised a two- day programme Sadhana — National Music Festival. Steadfast adherence to tradition, impeccable patanthara and admirable presentations are the hallmarks of O.S. Thyagarajan’s (OST) style. These were noticed distinctly in his outstanding performance on the first day of the festival.
O. S. Thyagarajan
Stating that this was the Tyagaraja Aradhana season, he demonstrated his proclivity for the saint composer by rendering only his compositions. Commencing majestically with Enduku Nirdaya... (Harikamboji), succeeded by Nee daya radha... (Vasantha Bhairavi) and Kaala-harana (Sudhasaveri), he embarked on a classical exposition of Poorvikalyani. Smoothly ascending to shadjam, then to upper octave and then descending to the base, he showed his astute virtuosity. His keen sense of kalapramana was perceivable in the adroit niraval and swaraprastharas in the kriti Gnanamosaga radha ....
Nuanced rendition
After a quick Nammakane..., a rare piece in Asaveri, he moved on to Kapi, the main raga, which received an elaborate vinyasa, with melodic nuances flowing beautifully. The nisariga prayoga produced a special effect. The moving kriti Inta sowkhya... is noted for its tranquillity. OST’s rendition reaffirmed the soulful spirit of the kriti. The beautiful phrasings in the niraval ‘swara raga laya’ had a pleasing blend of bhava and laya. The concluding Shobhane... (Kamavardhani), Uyyalaluka... (Neelambari) and Naadhu Pai... (Madhyamaverthi) were heart-warming.
T.H. Subrahmanyam (violin) displayed his expertise and manodharma in his accompaniment. Nanjil Arul (mridangam) and Tripunithura Radhakrishnan (ghatam) lived up to their reputation as ace percussionists. The special feature of their tani was an excellent konnakkol rendition by the former.
A. Kanyakumari
Violin maestro A. Kanyakumari’s concert on the second day bore testimony to her versatility and scholarship. A sprightly Nattakunji varnam Chalamela ..., Mooladara Murthe... (Hamsadhwani – Papanasam Sivan), Naada thanumanisham... (Chitta Ranjani-Tyagaraja) and pancharatna krithi Jagadanandaka... (Natta) together formed a solid edifice.
Naadaloludai ..., preceded by a sweet sketch of Kalyana Vasantham and succeeded by a cluster of swift swaras, created an impact. Paramakripa Sagari..., an evocative GNB composition in Yadukulakambodhi, was an apt choice, before Sri Viswanatham Bhajeham... , the chaturdasa ragamalika (14 ragas) of Dikshitar. The swaroopa of each raga emanated vividly in her grandiose presentation.
Creative highs
Kathanakuthoohalam, a raga invented by composer Patnam Subramanya Iyer, has a western tinge and is a favourite of instrumentalists. The raga sparkled in Kanyakumari’s brief sketch and in the kriti Raghuvamsa sudha... of the same composer; the plethora of sangatis in the charming chittaswaram revealed her amazing fingering and bowing skills. The Annamayya kriti Melulethu... in a new raga Narayanadri (sa ri ma pa ni sa — sa ni da pa ma ri sa) invented by her, bespoke of her creativity.
The elaborate alapana of Kharaharapriya, flavoured with sangathis and improvisations in the thanam, opened up new vistas in handling the violin. Choosing Tyagaraja’s magnum opus Chakkani Raja... , she indulged in a volley of swaras in a mixture of ragas.
Her disciple, Srirakshit, made his presence felt with his impressive show. K.M.S. Mani (mridangam) and Alappuzha Vijayakumar (thavil) provided a fine momentum with their display.
Their tani in Adi tala was a brilliant creation and received a round of applause.
