Songs of devotion
G.S. PAUL
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A five-day music festival was organised in connection with Thiruvathira and Makarasamkrama celebrations at Sree Vadakkunnathan Temple.
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OBALATION: Veena-flute-santoor combine by Ananthapadmanabhan, P.R. Murali and Harikumar was a novel experience
For the first time Kshetra Samrakshana Samity organised a five-day music festival at Sreemoolasthanam of Sree Vadakkunnathan Temple, Thrissur, as part of the Thiruvathira and Makarasamkrama celebrations.
The festival began with a nadaswaram concert by Thiruvizha Jayasankar.
Accompanied by two young tavil artistes, Alappuzha Vijayakumar and Chertala Sreekumar, the maestro played for two hours.
Jayasankar is one of the few musicians who have realised that `intensity' is a prominent characteristic of a musical note. The variation of intensity he introduces during the rendition, therefore, enhances the beauty of the composition. Moreover, he explores each note and adds to its depth and range. This was evident in `Mahadeva Siva sambho,' Thanjavur Sankara Iyer's composition in Revathi (Adi) and also in Swati Tirunal's 'Saamodam chintayaami,' in Sudhadhanyasi (Misra chappu).
Melodic content
Temple or sabha concert, Madhurai T.N. Seshagopalan's commitment to classical music is unparalleled.
True, his repertoire excluded ghana ragas and fast tempos. But the melodic content of his recital was remarkable. Also the maestro's propriety was discernible in the selection of kritis that were oblations to Siva. Thyagaraja's `Naadathanu manisam Sankaram' in Chitharanjini (Adi) was sung in the Jangharadwani mode to the delight of all.
Madhurai T.N. Seshagopalan in full flow.
Technical virtuosity of sruti bheda was the highlight of the Dikshitar composition `Ardhanareeswaram aaraadhayaami,' in Kumudakriya (Roopakam).
While T.H. Subramaniam's violin and G. Chandrasekharan Nair's mridangam provided excellent support to the musician, interventions on the ghatam by Manjur Unnikrishnan enriched the aesthetic appeal of the concert.
The veena-bansuri-santoor combine by Ananthapadmanabhan, P.R. Murali and Harikumar was a novel experience. They banked on the Hindustani format beginning with a bandish, `Kaanha theri' in Hamsadhwani. A tarana in Natabhairav and a dhun in Misrapilu were other numbers.
Manjari's voice culture was evident in her rendition of devotional songs. The songs included both Carnatic and Hindustani compositions.
Thiruvathira songs presented by playback singer Vidya and her troupe was another attraction of the festival.
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