A musical voyage for aficionados
V. JAYARAMAN
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Concerts were held in connection with the festival of the Ernakulam Siva Temple.
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After the halcyon days of M.L. Vasanthakumari, Radha-Jayalakshmi, P. Leela and the like, it is rarely that a rasika comes across women vocalists who can carry a vocal concert with due regard to the tenets of kutcheri dharma.
Sivadarsana, settled now in Thripunithura, stuck to tradition during her inaugural vocal recital at the precincts of the Siva Temple at Ernakulam, in connection with the on-going festival there.
Sivadarsana started the concert with a varnam, `Ninne kori' by Thaachoor Singarachari' in Vasantha set to adi talam. `Sree Mahaganpathim' in Ataana, credited to the Maharaja of Mysore, (adi talam) was ornamented with kalpanaswaras, and in its wake came `Sree Jaalandhra' in Gambheera Natta, by the same composer, spiced by a sequence in chittaswara.
`Panthuvarali' was fluent and `Siva Siva Siva Yanaradha' on the temple of Panchanada by Thyagaraja was sufficiently decked with swaras. Begada was etched neatly and the kriti tied to it was `Vande Deva Deva' in Roopakam, a Navarathna composition by Maharaja Swati Tirunal and it was followed by `Gaangeya Vasana' by the Maharaja in Hameer Kalyani. The nucleus of the concert turned out to be Thodi. Sivadarsana concluded with a melodious `Thaamarapoikayile' by Madurai Mani in the raga Misramanolayam, a Meera bhajan in Syam kalyan and a Lalgudi tillana in Ragesree. Aimanam Pradeep was on the violin, accompanied by Aimanam Sajeev on the mridangom, Aimanam Radhakrishnan on the ghatom and Kottayam Murali on the mukharsangh.
Thejasree M. Prabhu, a disciple of Kangazha Vasu,focussed on the melodic content while building up the respective raga structures.
Thejasree began with a varnam created by her guru in Vandana Dhaarini of the Kalyani family. Shanmughapriya was well laden with alluring passages and was followed up with a thaanam and a pallavi in the form of a swaramalilka, comprising Mohanam, Hamsanaadam, Amrithavarshini and Hindolam.
Her technique in rendering of the swaras in segments and then shaping them into a cluster was admirable. Sidhivinayakan on the violin, Balakrishna Kamath on mridangom Syam Mrinal on the ghatom provided able support.
Clarity, sweetness and modulation of the tone, brought off by an immaculate bowing technique, made the violin solo concert by T.N. Krishnan linger in the minds of the listeners.
A fascinating feature of Krishnan's music is that he plays only familiar compositions without diluting his format according to the venue and the audience.
Thripunithura Narayana Iyer Krishnan and his daughter Viji Krishnan Natarajan presented a violin duet.
As usual, the duo started off with a flourish and the composition was `Niravadi sukhada' by Thyagaraja, in Ravichandrika.
The duo explored Panthuvarali from every angle. Kalpanaswaram in Saarasaaksha, they played to a crescendo, evoking loud applause. The depiction of Thodi was typical of the TNK baani.
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