The two-day-long ‘Sree Sathyasai Sangeethothsavam – a dawn-to-dusk, ‘music for peace’ concert, staged at the M.D.R. Hall, Palakkad, featured a series of concerts, apart from lecture demonstrations on music and dance. The curtain raiser to the event was a group rendition of Pancharatnakeerthana, paying homage to Tyagaraja.
On the first day of the fete, vocalist Kollam Balamurali presented a concert that was soaked in soulfulness. Narayanatheerthar’s lilting Tharangam ‘Jaya jaya Swamin’ (raga Natta), that he appended with swarakalpana and ragalapana enlivened the concert.
Vocalists Karthik Harikumar and Vignesh Harikumar made a mark in their duet. The duo’s elaboration of Madhyamavathi and Tyagaraja’s ‘Adikki sukhamulu’, adorned with niraval and swarasanchara, was as classic as it was mellifluous.
Preetha Warrier, a faculty member of the Chembai Memorial Government Music College, Palakkad, enthralled the listeners with her pliable voice. Her rendition of Mysore Chamarajendra Udayar’s ‘Sreejhalandharamasrayamyaham’ (Gambheeranatta), an alapana of Mohanam for ‘Sree Ramaramani’, the delineation of Simhendramadhyamam and Swati's ‘Rama rama guna seema’ were all praiseworthy.
Mohiniyattam danseuse Uma Tapasyananda presented ‘Parshatheepranaya parvam’ narrating Draupadi’s relationships with the Pandavas.
The Bangalore brothers, Hariharan and Ashok struck a chord with the audience from the first number itself – a vivid Adi tala varna, ‘Chalamela’ (Nattakkurinji). The selection of ‘Divakara thanujam’ (Yadukulakamboji), one of the Navagraha kritis of Dikshitar on Saneeswara, was apt for the concert that was held on a Saturday.
On the second day veteran vocalist Baby Sreeram mesmerised listeners with her mastery over the art form and her vast repertoire. Her perfect understanding with Sindhu (violin), Unnikrishnan (mridangam) and Dipu (ghatam) raised the bar of the concert.
The vocalist presented a garland of rare kritis themed on the role of music in purifying the mind. ‘Varalakshmim bhajare’ (Sourashtra), a plea to the mind by Dikshitar, was marvellous. An essay of Poorvikalayani, embellished with apt gamakas and aesthetic modulations was steeped in classicism.
Raga Vardhani, derived from Gourimanohari for Tyagaraja’s ‘Manasa manasamardhyamemi’ and ‘Varahim Vaishnavim’ (Charukesi), one of the Dasadevi kritis of Dikshitar, were rare treats.
Then came one of her own numbers, ‘Saraseeruhasane’ (Sunadavinodini). A soulful Bhairavi, decorated with sangathis, and Annaswami Sastri’s ‘Sreelalithe Kancheenagaranivasini’ was followed by an impressive thani. Her own creations ‘Ariyathatheno’ (Revathi) and an elegant Thillana (Nattakkurinji) also stood out.
The finale of the fete was a scintillating violin duet by Idappally Ajith and Thiruvizha Viju. S. Anand, with the motivating and rejuvenating support of Changanasseri Harikumar (mridangam), Perukavu Sudheer (ghatam), and Payyannur Govindaprasad (morsing). The ensemble took off on a bright note, a soul stirring Lalgudi varnam in Bouli. Thulasivanam’s ‘Bhaja manasa’ (Bahudari) and Syama Sastri’s ‘Marivere’ followed. Tyagaraja’s ‘Eati yojanalu’ (Kiranavali), tagged with a cluster of well crafted swaras and reproduced by Harikumar, with Sudheer and Govindaprasad joining with verve, wooed rasikas.
A gamaka etched portrayal of Sreeranjani displayed the duo’s mastery over the instruments. Tyagaraja’s ‘Sogasuga mridanga talamu’ was embroidered with spirited swaras. The piece de resistance of the concert was a pleasing Kalyani – Tyagaraja’s ‘Eathavunara’.
The fete was held under the aegis of Sree Sathyasai Seva Sangatana, Palakkad.
