K. Harish Narayan displayed his good erudition and creative skills when he sang in the monthly programme of the Palghat Fine Arts Society, Tharekkad. The concert was noted for its distinct classicism. His good diction and delivery was a positive feature; his varied choice of kritis revealed his wide repertoire. The accompanists Anoop Bhaskaran (violin) and Ambattur K. Babu (mridangam) elevated the concert to notable heights.
The vocalist began on a bright note with the varnam ‘Vanajaksha Ninne’ in raga Mandaari composed by Mysore Vasudevachar. The next item, a rare kriti ‘Mahaganapathe’ by Mysore Padmanabha Rao in Poornachandrika, contained gripping swara patterns. After a moving ‘Aekamresa Naayike’ (Karnataka Sudhasaaveri – Muthuswamy Dikshitar), Harish rendered a superb alapana of Chaarukesi, which was interspersed with graceful sangathis. His portrayal of Swati Tirunal’s famous kriti ‘Kripaya Paalaya’ was praiseworthy. The song ‘Maata Sada Avatumam’ (Aabogi – Mayuram Viswanatha Sastri), appended with imaginative kalpanaswaras, brought the raga swaroopa in ample measure.
Harish’s musical credentials were discernible in his bhava laden delineation of Subapantuvaraali. His analytical development of the raga, punctuated with a bunch of akaaras and sangathis, was a laudable effort. The ‘jeeva’ swaras came alive in his delicious exposition. Choosing the Tyagaraja kriti ‘Ennaalurke’, he presented an inspiring niraval at ‘Sathimaatala’, replete with brilliant phrasings. The weighty swaraprastharas lent depth to the rendition. The unfamiliar song ‘Sadaakshara’ of Aandavan Pichai in Mohanam was an apt interlude preceding the main raga Thodi.
Thodi, one of the major ragas in the Carnatic music circuit, affords immense scope for expansive treatment. Harish’s alapana was no doubt appealing; but being the main item of the evening, he could have explored it in greater detail. His interpretation of Tyagaraja’s magnum opus ‘Kaddhanu vaariki’ stood out for its classical purity. The comprehensive niraval, suffixed with numerous permutations and combinations in the kalpana swaras, made an impact. While ‘Aliveni Endhu’, the popular padam by Swati Tirunal was soulful, Subramanya Bharathiyar’s ragamalika song ‘Chinnanchiru Kiliye’ exuded sweet melody. The concert was rounded off with the lilting thillana ‘Niri niri gama garisa’ in Poorvi. Though the sruthi alignment was good at the beginning of the concert, deviation from it was observed, as the concert progressed. Harish would do well to pay more attention to this vital factor.
Young Anoop Bhaskaran deserves all praise for his outstanding accompaniment. Ambattur Babu also impressed the audience with his excellent support. His precise tani in Adi tala was a fine display of superb percussive skills.
