Enthralling vocal

N. Ch. Parthasarathi, true to his lineage, upheld the standard of his concert.

Parthasarathi

HYDERABAD: ‘Nallan Chakravarthula’ is not mere surname but one that is associated with music — their patriarch N.Ch. Krishnamacharyulu being a scholarly musician and an author. N.Ch. Parthasarathi is one of the descendents of this clan and earned name as an impressive vocalist. He was featured by Sri Kartikeya Gana Sabha in an absorbing recital he gave at the Kowtha Swarajya Vihar, Padmarao Nagar, last week. He was accompanied by O. Rajasekhar on violin and Ch. Ramakrishna on mridangam.

Parthasarathi is a dedicated musician who appeared to have acquired some skills of his uncle Krishnamacharyulu. Hyderabad Brothers Raghavachari and Seshachari too put him in the track. He did doctorate in sahitya and Sangeetha.

Parthasarathi opened the concert with popular

Viriboni , Ata tala varnam in raga Bhairavi and followed it up with

Pranamamyaham Sri Gowri Sutham of Mysore Vasudevachar in Naata. It was set in a faster tempo. He sang it extremely well and the breezy swarakalpana in the end enhanced its appeal.

Sri Guruguha Taarayasumam of Muthuswamy Dikshithar in Sudha Saveri that followed too had gripping swarakalpana.

Marivere Dikkevvaru of Patnam in Lathangi served as the sub-main number presented with raga, neraval and swarakalpana. The raga alapana was brought out its raga bhava.

The neravu at Dharalona Nee Saati was a good effort and brought out the intrinsic bhava of the lyrics. The Swarakalpana presented in higher speed was neat execution never losing the sight of raga bhava. The appeal of the melody got further elevated with Rajasekhar’s violin.

Parthasarathi then presented a couple of Thyagaraja compositions –

Niravadisukha in Ravichandrika, in higher speed and then

Neeke Teliyakapothe in Ananda Bhairavi, as first step to hop into the main number of the concert

Karunanidhi Ilalo in Thodi. This was of Syama Sastry and the way he rendered the number was quite moving. In alapana the raga picture came in great detail. He simply sculpted it. The neraval presentation too kept to sahitya clarity of the charanam

Komala Mridu Bhashini . Swarakalpana was presented in both vilamba and druta kalams, with sancharis in swara presentation too. Violinist Rajasekhar enriched the concert with his own disciplined interludes.

So was young Ramakrishna’s mridangam play who displayed his skills in playing tani avartanam too. His play simply followed as vocalist’s rhythmic support. Of the final numbers Parthasarathi presented, notable were Prayaga Ramadasus’s Udbhavinchinadu in Janjhooti, Badrachala Ramadasa’s Eevela Nanu Brovara in Khamas, javali in Kapi of Tirupathi Narayanaswamy and a tillana of Patnam again in Khamas.