The Oottupura hall of the Chakkankulangara Siva Temple in Thripunithura witnessed lively discussions as musicologists and music enthusiasts gathered to discuss Muthuswami Dikshitar's contributions to Indian classical music.
Vocalist Cherthala K.N. Ranganatha Sarma also took part in the discussion and talked – and sang – about the beauty of Dikshitar kritis in both Hindustani and Carnatic music. He referred to the Hindustani raag ‘Ramkali' and sang the piece ‘Rama Rama Kali Kalusha.'
He also explained Carnatic ragas derived from Hindustani such as Yaman Kalyani (‘Jambupathe Maam Pahi'– a Panchalinga kshethra kriti), Subhapanthuvarali (‘Sree Sathyanarayanam'), Ameer Kalyani (‘Purahara Nandana') and so on. Sarma also sang a part of some chaukkakala kritis such as ‘Chetha Sree Balakrishnam' (Dwijavanthi), ‘Soundara Rajam' (Vrindavan Saranga) and ‘Neerajakshi' (Hindolam) during his demonstration.
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Following a short question-answer session, the programme became livelier with chamber music.
This was followed by a full concert by Sarma, which began with a Navagraha kriti, ‘Sooryamoorthe' (Sourashtram). Next, Sarma sang ‘Abhayambikaya,' a Abhayamba Vibhakthi kriti in Kedaragowla and then ‘Namo Namasthe' in Girvani/Gavambodhi. ‘Tyagarajaya Namasthe' (Begada) was well delivered. Sarma took care to explain the meaning of the kriti.The composer was praising Lord Shiva, the diety at Thiruvaroor in this particular piece. He also sang ‘Sree Rama Saraswathi Sevitham' (Nasikabhooshani/Nasamani) before going on to the main item.
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‘Sree Kamalamba,' a kriti from Kamalamba Navaavaranam in Bhairavi, was stunning as the main item of the day. Thiruvizha Viju S. Anand accompanied on the violin. Tani was by Nanchil A.R. Arul (mridangam) and Adichanallor Anilkumar (ghatam). Before concluding, Sarma sang the small piece, ‘Kamakshi Kamakoti Peetavasini' (Simhendramadhyamam/Sumadyuthi). Sarma's wife, Mohana Ranganatha Sarma, gave vocal support.
The programme was organised by Sivasakthi Chamber.