Some of the young vocalists and instrumentalists hailing from different parts the South left an indelible mark mirroring great promise for them and for Carnatic music during the Kartikeya Gana Sabha’s youth music festival in the last three-day events.
On the second day, N. Jayakrishnan opened his vocal with varnam Karunimpa in Sahana and followed it with Paridanamicchithe in Bilahari of Patnam in a faster tempo. Gjnanamosgarada of Thyagaraja was taken as sub-main piece and was presented with impressive raga aalpana, neravu and swarakalpana taking the line Paramathmudu Jeevathmudu an impressive output. Saravanabhava of Muthaiah Bhagavatar in rare Pasupathipriya with chitta swaram in higher tempo was followed by the main number Sankari Sankuru in Saveri of Syama Sastry with detailed raga, neravu and swarakalpana at Syamakrishna Sodari . He concluded with ragamalika slokam Behag, Ragesri and Sindhubhairavi and a Sindhubharavi number in Tamil of Guru Surajananda
This concert was followed by Chitra Veena concert by Vishal Sapuram, the best on this day’s events. He opened with Sri Ganapathini in Saurashtra of Thyagaraja and was followed by Paramapurusha in Shanmukhapriya of Annamacharya taking it as sub-main piece. The raga presentation was melody filled, with exemplary neravu and swarakalpana. After playing Mani Noopuradhari in Neelambari of Oothukkadu Venkata Kavi, Vishal went for the main number Emi Jesithe Nemi in Thodi, misra chapu talam of Thyagaraja, that was a big draw for his presentation of raga in great detail and swarakalpana in vilamba and druta kalams – all well relaxed presentations. He was accompanied by Kolanka Sai Kumar on violin and Burra Sriram on mridangam. The concert was concluded with Narayanathe Namo Namo in Sindhubhairavi of Annamayya and a tillana in Bindumalini of N. Ravi Kiran, Visal’s guru.
The third day events began with vocal recital by Vivek Sadasivam of Bengaluru in the company of Radhika Srinivasan on violin and Karra Srinivas on mridangam. Vivek opened with Sami Dayajooda , Kedaragowla varnam and went for Vadera Daivamu of Thyagaraja in Pantuvarali with detailed raga essay. The kirtana rendition was enriched with neraval and swarakalpana in equal measure. After the rendition of Sarasijanabha Sodari in Nagagandhari of Dikshithar, he went for Gati Neevani in Thodi of Thyagaraja, a Lalgudi Pancharatna kriti, rarely heard in concerts. He rendered it with good expression. Alapana was marked with all its essentials like gamakas with melodic expression. Kandena Govindana of Purandaradasa concluded his concert.
Flute duet between twins, Heramba and Hemantha from Madikeri, Karnataka was another remarkable concert. They were accompanied by Kolanka Anil Kumar on violin and G Om Prakash on mridangam. They opened with Sobhillu Sapthaswara of Thyagaraja in Jaganmohini set in medium tempo concluded with impressive swarakalpana at once refreshing. Gjnanamosagarada in Poorvi Kalyani of Thyagaraja was their sub-main piece launched with mellifluous alapana with fine neraval and swarakalpana parts in the kriti. The modulation of the raga on these wind instruments was marked with subtle and bold brigas suiting sangathis. The neravu was bhava laden and soul stirring. Swarakalpana patterns were crafted well. The main number of the concert was Intha Soukhyamani of Thyagaraja in Kapi. The raga essaying was splendid display of tradition and swarakalpana was neat. It was well synchronised display of flute duet.
The final day concerts were of Chitta Kartik on veena and Vimarsini Jayaram’s vocal that were in tune with flow of music in this youth festival.
