There is a quality to Pattabhiram Pandit’s music that may be termed intriguing. Equipped with a voice that may not find instant favour, the artist conveys his convictions with a hard-to-miss earnestness. This, coupled with involvement, has a gently persuasive effect which gradually draws the listener into his vision of alapana, kriti and kalpanaswara.
In his thematic concert based on Purandaradasa’s compositions, an elaborate Todi exposition bloomed on the canvas of ugabhoga verses, in lieu of the conventional raga alapana. Gliding and soaring along the trajectory of jarus and rapid ascent passages, anchored by solid pidis, there was a vistara that prepared the ground for ‘Enu Dhanyalo Lakumi’. The emotive content of the kirtana was enhanced many-fold by the attention bestowed on sahitya bhava. Kalpanaswaras brimmed with engaging permutations leading to kuraippu at the shadja. Executed with elan, the imaginative excursions were refreshingly free of aggression.
A concise Sankarabharanam essay projected nuanced subtlety in prayogas centred at the tara sthayi shadja. It was a well-rounded alapana, in which the vocalist found his comfort zone in ‘e’ kara in the upper octave. In the kriti ‘Pogadiralo Ranga’, much creativity came to the fore during the neraval at
‘Suramunigalu Thamma’. A serene, well-ordered progression of ideas dwelt equally on madhya and tara sthayi suites. Calming kizh-kala swarakalpana segued into sprightly sarvalaghu patterns in melkala, which wove variety with punch.
The artist did not shy away from the hitting the top notes. However, perceptible strain was evident in the upper register, arising from constricted voice production, which, if addressed, could become free flowing.
In the tukkada segment, the lead-up to ‘Rama Rama’ (Tilang) was stirring and carried forward into the kirtana, communicating deeply felt emotion. Sindhubhairavi inevitably surfaces in Devarnama renditions and the artist’s version placed emphasis on the mudra ‘Purandara Vittala’. The lilt, underlying melancholy and self-immersion in ‘Jagadodharana’ (Kapi) drew the listener imperceptibly into the composition.
The contributions of accompanists K.P. Nandini (violin) and K.Swaminathan (mridangam) added weight and lustre to the vocalist’s interpretations. Nandini’s alapanas had depth and shone with aesthetic touches. Capitalising on the ample time available, Swaminathan presented a well-structured tani.
The concert was part of the endowment series held by The Music Academy at the Kasturi Srinivasan Hall.
