Narayana Teertha lived some time between the 17th and 18th centuries, when ‘concert form’ was yet to take shape and the ‘tarangas’ he wrote were presented more in ‘Bhajana Sampradayam’, with some dance movements added, at times. Therefore, the attempt made by young vocalist Jonnalagadda Siram, disciple of Akella Mallikarjuna Sarma, to present them in Carnatic concert format looked more experimental than being appropriate. This show was held last week at Saptaparni under the aegis of Sujanaranjani, on the occasion of Narayana Teertha’s Jayanti on ‘Ashadha Suddha Ekadashi’.
For this occasion, Sriram chose half a dozen popular compositions of Narayana Teertha and presented them in Carnatic concert mode with raga, swara and nereval presentations. He was in the company of Mallela Tejaswy on violin and Omprakash on mridangam.
Sriram proved perfect at sahitya expression with right pronunciation of words and the opening number Jaya Jaya Srinivasa , in Mohanakalyani stood proof of his sahitya conscious. This number was a prayer offered to Lord Srimannarayana. The swarakalpana he presented later was in line with the mood and melody of the number. The next tarangam he sang was Govinda Ghataya in Kambhoji, Khanda Chapu talam, in a simple kirtana presentation.
Sriram then chose popular Abheri raga tarangam Jaya Jaya Balagopala in Adi talam, treating it as his sub-main number. The alapana was so expansive that it covered all the three octaves of raga Abheri giving considerable time to each of the segment. It was an effortless display. The tarangam was eulogy of Bala Gopala - child Krishna. The swarakalpana he presented in this was brisk with innovative touches. Violinist Mallela Tejaswy response to Sriram’s creative spells, helped to enhance its appeal. This was followed by the most popular tarangam Deva Deva Praseedame in Mohana that was also treated as the concert’s principal attraction. It was opened with a slokam. The delineation of the raga was wholesome, covering all its beautiful phrases. Swarakalpana was presented applying technique of ‘Grahabedham’ (Shift of tonic) with effortless ease producing images of Ragas Madhyamavati and Hindolam. In this the effort put in by violinist Tejaswi added lustre to the show.
Sriram concluded his concert with popular tarangam Govardhana Giridhara in Hindolam, giving it a bit of Hindustani touch. The Tani avartanam by Om Prakash was laudable.
