A three-day ‘Harmony Festival 2014’ at Marthoma Nagar, Azhikode, Kodungalloor, was interesting on account of the broad spectrum of art forms staged by artistes belonging to different age groups and communities. The performances seemed to be inspired by the ambience of the historic venue where Saint Thomas, the disciple of Jesus, is said to have landed in India in 52 AD.
Father Paul Poovathingal’s rendition of ‘Dikshitar’s ‘Vathapi Ganapathim bhaje’ was marked by enticing improvisations reflected in the phrases he coined with the swaras of Hamsadwani. Abdul Aziz on the violin and Guruvayur Sanoj on the mridangam provided excellent support to the vocalist. The devotional song, ‘Parisudhathmave varaname’ (Vakulabharanam) was embellished with swaras. Hindolam found expression through a composition of Kaithapram, ‘Hindola ragaardranaayi’.
But for the Pancharatna kirtanas of Tyagaraja, group renditions are seldom presented in Carnatic music. But Desamangalam Narayanan and his disciples proved how select compositions could be equally effective while singing as a group. Balamuralikrishna’s ‘Omkara Pranava’, a Shanmughapriya varnam, was rendered with all attendant niceties.
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Fourteen members of the Cochin Chamber Orchestra enthralled the audience with a String Quartet led by Pradeep Singh, an international music conductor of repute. The ensemble of four Violin I, five Violin II, three Violas and two cellos began with the inspiring Mozart composition, ‘Eine Kleine Nachtmusik’, a serenade in allegro, andante, and allegretto movements. Of the six-string quartet compositions of Carl Philip Stamitz, the one in C Major was the pick. Captivating was the melody evoked by ‘Blue Tango’ of Leroy Anderson, a composer of the modern period. Rhythmic accompaniment by plucking of the cellos added a new colour to the number. ‘El Choclo’ by the Argentinean composer Angelo Villodo and ‘La Cumpersita’ of Rodrigues were the other numbers.
A bewitching delineation of raga Malkauns by the instrumental ensemble consisting of Paulson (sitar), Rison (flute), Aziz (violin) and Sunil (tabla) was an aural treat. The alaap opened by the sitar was soon taken up by bansuri and violin in turn to explore the nuances of the raga. The tabla joined in Teen Taal. As the tempo picked up, Rison switched to the short flute.
Kalatharangani dance troupe led by danseuse-choreographer Mary John staged three numbers of which her solo proved her terpsichorean dexterity. P. Kunjiraman Nair’s poem, ‘Keralame’, extolling the attractions of Kerala, was presented by a group of five senior students of Mary's. Her choreographic ingenuity found expression in the next number, a fusion of Mohiniyattam, Bharatanatyam and Kathakali, that began with an invocation to Christ. Soon, it turned theatrical with the events leading to the crucifixion.
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Kalamandalam Sabari’s ‘Chuvanna thadi’ portraying the soldier torturing Christ, compelled to carry the cross, was impressive. Rhea from Pune, performed Bharatanatyam to a Hindi composition.
‘Abrahaminte Bali’, a Kathakali production by Sree Kalarangam, Kottayam, was the longest performance in the festival. Scripted by Meenedam Unnikrishnan, the padams in simple Malayalam helped the audience to follow the play closely.
Kudamalur Muralikrishnan’s Abraham (Pachha) was impressive for his manodharma, especially while portraying the agony arising from God’s command to sacrifice his own son, Isaac.
Gouri S. Nair demonstrated her histrionic talents skilfully in the portrayal of Isaac. The other actors and musicians also executed their roles judiciously.
Fourteen tribal dancers from Odisha enthralled the audience. Margamkali, Chavittunatakam, Parichamuttukali, Oppana, Duffmuttu and Kaikottikkali were performed by different troupes.
The fete was organised by the Marthoma Research Academy.