In his guru's footsteps
SANKAR N
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Thiruvengad Jayaraman took his listeners on an unforgettable musical journey.
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GURU BANI: Vocal concert by Thiruvengad Jayaraman. Photo: S. Ramesh Kurup
Getting a chance to listen to artistes who have lived and witnessed the priceless music of the stalwarts of a bygone era is a unique privilege.
That must have been the reason why music lovers thronged in large numbers to listen to Thiruvengad Jayaraman, a disciple of Ganakaladhara Madurai Mani Iyer. The concert was organised by Sadguru Sangeetha Sabha, Kozhikode.
Jayaraman started the concert with `Shakthi ganapathim' a composition of Harikeshanallur Muthayya Bhagavathar, in Nattai. And this was in fact a grand `Guruvandanam' as Mutthaya Bhagavathar happens to be Mani Iyer's guru.
As it was a Sunday, his decision to sing `Suryamurthe Namosthuthe,' a Navagraha kriti of Dikshitar on the Sun God was quite appropriate.
Moreover, it was a bona fide accolade to Madurai Mani Iyer who himself had popularised the tradition of singing the Navagraha krithi corresponding to the day of the week.
Then he came up with `Anudinamu' of Subbaraya Sastri in Darbar. The brisk pace and brief swaraprasthara added to the splendour of this kriti set in Khanda Chapu. The Poorvikalyani alapana was beautiful with some fine sangathis sung in the tharasthayi.
The rendering of the Tamil kriti of Sankardas Swami `Intha paramukham Edu' was special in many manners. The neraval at `Neeyoru Shilayo' brought out the thoughtful mood of Poorvikalyani. The brilliance of the vocalist in correlating the lyrical meaning with the swaraprasthara was evident when he added Neeyoru before ending each cycle of swaralapana, preceding the `Shilayo,' which comes in samam of the thalam, thus giving a meaningful `Neeyoru Shilayo.'
Jayaraman chose to sing Madhyamvathi next. The alapana was special with `Ri' `Ma' `Ni' `Ri' phrases bringing out an exceptional face of Madhyamavathi. `Vinayakuni,' a kriti of Thyagaraja in praise of Devi, was rendered with good bhavam. Neraval was sung at `Anatharakshaki Srikamakshi.' Swaraprasthara, was long but with no ending korvai.
The main raga chosen was Kalyani. The alapana was fantastic, and it left the audience spellbound. It was a real delight to hear Diskthitar's `Bhajare Re Chitha,' a majestic song set in Misra Chapu, seldom heard in concert platforms nowadays. The main piece was complete in all respects. As soon as the main song was over, Jayaraman took the audience to a different mood with the instant virutham `Aayiram namathal' in Nattaikurinji. The next virutham in Shanmughapriya was extraordinarily brilliant. This was followed by Muddu Krishna in Chenchurutti, yet another rare song composed by Muttaya Bhagavathar. This was followed by a Ragamalikai and Mangalam.
Overall the concert was an unforgettable experience. The fact that Thiruvengad Jayaraman is an obedient follower and proprietor of his Gurus bani was evident in all parameters; ranging from the simplicity in his attire, to the sarvalaghu swarams.
His appreciation for the accompanists served in building up a good rapport throughout the concert.
Kovai Balasubramaniam ably accompanied on the violin, giving equivalent replies wherever necessary. Kuzhalmannam Ramakrishnan did a good job on the mridangam.
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