Friday Review

Detailing his forte…

Guruvayur T.V. Manikandan.

Guruvayur T.V. Manikandan.   | Photo Credit: Anu Pushkarna.

more-in

It was a musical treat as Delhi-based Guruvayur T.V. Manikandan in his concert of about two hours presented delectable renderings.

The Carnatic music concert, organised by the Ramakrishnapuram South Indian Society in the Capital included prize distribution ceremony of the varnam competition.

His central item was Gopalakrishna Bharati’s ‘Saranagati ena’ in the raga Subhapantuvarali. A scintillating alapana of the raga was the highlight here. Besides, he took up a phrase for neraval and completed the piece with kalpanaswaras. Earlier, Manikandan took up Tyagaraja’s ‘Brovabharama’ in raga Bahudari for detailed rendition. In a fairly detailed delineation he brought out the features of the raga to the fore. The other improvisation technique, swaraprasthara contained creative swara patterns. Papanasam Sivan’s ‘Balakrishnan padamalar’ in raga Dhanyasi and Tyagaraja’s ‘Sittamma mayamma’ in Vasasntha were the other songs that Manikandan handled well.

Young Raghavendra Prasaath on the violin rose to the occasion. Jayant P. Das provided the mridangam support.

At India Habitat Centre, Chennai-based popular vocalist Neyveli R. Santhanagopalan’s vocal concert was organised by the Shanmukhananda Sangeetha Sabha as part of ‘Sri Muthuswami Dikshidar Day Celebrations’.

A delayed start of the concert, a somewhat unstructured concert pattern and Santhanagopalan’s voice not being in the best of fettle took away the excitement. Starting his concert with the popular composition ‘Vatapi ganapathim’ in Hamsadhwani, Santhanagopalan took up ‘Dharmasamvardhini’ in raga Madhyamavati as the central item of his recital. Delhi‘s V.S.K. Chakrapani’s violin support and Chennai-based Umayalapuram Mali’s mridangam support were excellent.

The concert was followed by a workshop conducted by Santhanagopalan on the next day at Indira Gandhi National Centre for the Arts. Though the Sabha’s invite titled the workshop as ‘Teaching of Rare Krithis of Sri Muthuswami Dkishidar’, Santhanagopalan taught two popular compositions of Dikshidar, namely ‘Annapoorne visalakshi’ in raga Sama and ‘Sri Rama Saraswathi’ in raga Nasika bhushani (Nasamani according to Dikshidar’s school). His teaching method which also included anecdotes and informative tips for students of music seemed to be a rare one.

During the Varnam competition, conducted by the Ramakrishnapuram South Indian Society, a youngster, barely in his teens, finished singing late T.R. Subramanyam’s adi tala varnam “Dharmama idhe taye” (Varamu raga) in two speeds and in tisra gati without any hitch. One of the judges asked him to sing the arohanam and avrohanam of the raga. The lad did that. Then the judge asked him how this raga (varamu) differs from Hindolam, a raga very close to varamu. This teenager pointed out that both ragas take the notes Sa, Ga, Ma, Da and Ni, but Hindolam takes Sudha Dhaivatham, whereas Varamu takes Chadusruthi Dhaivatham.

Asked to sing the arohanam and avrohanam of these ragas, the lad sang these in a delightful manner in quick succession without any mix-up. The scene was not from any of the Carnatic music competition shows in popular Tamil TV Channels. The lad deservingly bagged the first prize.

Why you should pay for quality journalism - Click to know more

Recommended for you
This article is closed for comments.
Please Email the Editor

Printable version | Jan 25, 2020 1:02:10 PM | https://www.thehindu.com/features/friday-review/detailing-his-forte/article7819186.ece

Next Story