Tiruttani Swaminathan presented Tirumurai Isai, where the first four sacred hymns were those of Thirugnanasambandhar. ‘Iyal Isai Enum Porul’ in Kedaragowlai (Pann -Gandhara Panchamam) made the beginning and the line, ‘Thavaneriye Yeidhuvar” was stressed towards the end. Didamali came next and had an absorbing alapana in Pantuvarali (Pann – Saadharippann) with some lucid phrases placed perfectly and in fine sequence.
‘Dhanam Varum’ took the virutham form in Sankarabaranam (Pann – Pazhampanjuram) preceding the hymn ‘Payumalvidai’ (same Pann, in misra chapu). The emphasis here was on the words, ‘Aivar Seyyum Vinayangal’ (the role five senses play in shaping our lives).
The next, ‘Oonaagi Uyiraagi,’ was Thirunavukkarasar’s poetry in Harikhambodhi (Pann-Kurinjippan) that led to ‘Sempon Maeni’ of Sundarar sung in Khambodhi (Pann-Thakkesi). Manickavaachagar’s ‘Thiruvachagam’ ‘Umbarkatku Arase,’ was in Mohanam. The word ‘vambu,’ used here, originally meant something new, not pointless gossip. Mohanam, it was learnt, does not have an identical Pann in the Tamil-Isai rubric and this lyric was sung adhering to the tune that is in vogue.
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Pann marabu (tradition) recognises and accommodates only two prathi madhyama ragas in its scale. The existing panns associated with each of these compositions are followed as matter of principle. ‘Engum Thirumeni’ (Thirumoolar’s ‘Thirumandhiram’) in Sindhubhairavi sung before ‘Sinathhavar Mudikkum’ (‘Tiruppugazh’) gave a sense of completeness to this ineffable communion. Swaminathan, a senior Oduvar in this hierarchy, has a voice that sets as it begins. The cadences for the ‘kuril’ and ‘nedil’ and impeccable diction were the hallmarks of his rendering.
These hymns in the words of eminent music scholar, T. S. Vasudevan, “are models of pure and elevated diction, general, earnest and touching, but always melodious and enchanting.” The devotional plane seen in Swaminathan’s singing was a testament to the observation.
Swaminathan was accompanied by Pannappattu Venkatesan (violin), Tiruvannamalai Sivakumar (mridangam), Sundar (ganjira) and Buvanagiri Kirupanidhi (morsing). The violinist made tactical use of the opportunities given and presented the raga alapanas for Sankarabharanam and Khambodhi with clear enunciations. The laya combine accompanied intelligently and also gave a short thani.
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