Backed by sound patanthara


Hamsadhwani has always gone that extra mile to encourage and promote musical talent, especially so in the case of out-station artistes who are lesser known but no less accomplished than their Chennai counterparts. In keeping with this tradition, the sabha featured a vocal recital by Tiruchi K. Ramesh recently.

A disciple of Musiri Gopalarathnam, Tiruchi Swaminatha Iyer, Thanjavur Sankara Iyer, and Semmangudi Srinivasa Iyer, Ramesh has also had the privilege of being accompanied by senior vidwans like Vellore Ramabhadran and Umayalpuram Sivaraman in the course of his performing career.

The vocalist's resonant voice coupled with music that carried the ring of conviction and spirited teamwork by the accompanists. Suresh Babu on the violin and Paiyyur Gopalakrishnan on the mridangam contributed to the concert's success.

The artiste placed his faith in a line-up of time-tested compositions of the Trinity, backed by sound patanthara and this stood him in good stead as krithis followed one another in quick succession — Muthuswami Dikshitar's "Vatapi Ganapathim" (Hamsadhwani), "Inta Paraka" (Mayamalavagowla) and Tyagaraja's "Patti viduvaradu" (Manjari) — embellished with appropriate neraval and swaras. "Nannuvidachi," Tyagaraja kriti, was launched at an unhurried kalapramana sustained without sag.

A racy "Nenarunchinanu" in Malavi (Tyagaraja), high on verve with its energetic chittaswaram, catapulted its way towards the more sedate "Kantajoodumi" in Vachaspathi (Tyagaraja) wherein the neraval at "Alanadu" sparkled with robust participation by the vocalist and violinist, the former displaying a predilection for janta swara combinations and neat sarvalaghu patterns in the kalpanaswaras.

The artiste got down to serious business with the delineation of Kiravani that succeeded in capturing the sombre tone of the raga, deploying gamaka-laden phrases delivered with emphasis.

The violinist's playing was remarkable for the rich tone while the use of the "long bow" technique provided valuable melodic input.

Rather startling though, was his brief foray into a series of tanam-like staccato phrases in the madhya-sthayi phase of raga development, but happily the moment passed and the dictates of convention prevailed. Tyagaraja's "Kaligiyunte" with neraval and swaras at "Baguga" was rendered with aplomb.

It was heartening to note the importance accorded to the keezhkala kalpanaswaras and a refreshing change to observe the last kalpanaswara ending without the mandatory and often robotic korvai.Paiyyur Gopalakrishnan's tani avartanam was crisp. Suresh Babu and Paiyyur Gopalakrishnan provided excellent support with their accompaniment underlined by keen anticipation and tacit understanding.

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