Singing for the gods
JAYARAMAN
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The `Sangeetharchana' that was conducted by Jayaprakasha Sangeetha Parishath at Thripunithura was a treat for aficionados.
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SONGS OF PRAYERS: T.N. Seshagopalan performing at the `Sangeetharchana.'
The Sangeetharchana organised by Jayaprakasha Sangeetha Parishath of Thripunithara as part of the Uthram festival at Poornathrayeesa Temple entered its 19th year. The Sangeetharchana started with a recital of `Pancharathnam.' The focus of the recitals was the creations of Jayaprakash from Thripunithura.
Madurai Gopalaswamy Sampoornam Mani, a student of Ramanthapuram Srinivasa Iyengar, is noted for his straightforward singing, within the bounds of sampradaya. His music always creates ripples among the audience because of his chaste style, meshed with a rich bass.
Panchamugha Ganapathe' in Natta and the ragas Kanada (`Bhajamyaham'), Shanmughapriya (`Kalitha Kuvalaya'), and Bhairavi (`Chinthayami') impressed the audience.
Nedumangadu Sivanandan on the violin, Thuravur Krishna Kamath and Vaikom Gopala Krishnan on the mridangam and the ghatom respectively, contributed to the success of the programme.
Captivating
M.K. Sankaran Nambuthiri's penchant for exploring new avenues came to the fore with his choice of ragas. Even when Sankaran unrolls a familiar raga, it assumes a colourful dimension.
His eagerness to widen the repertoire is reflected in the selection of compositions, which always remain yoked to a distinct style of swaraprasthara. He began the concert with with `Poornathrayeesam.'
Keeravani, the centrepiece of the concert, had a plethora of graceful flourishes and was aptly tied to `Sangeeta Samrajya.'
He was accompanied by Edappally Jayamohan on the violin, Krishna Kamath on the mridangam and Thripunithura Kannan on the ghatom.
Whenever Tiruvenkitavalli Nambi Iyengar Seshagopalan is on the stage, one can expect an incessant and unhindered flow of ragas and an avalanche of swaras.
T.N. Seshagopalan shouldered the onerous task of presenting the Panchaayatha kritis by Jayaprakash about Ganesha, Soorya, Devi, Siva and Vishnu and enchanted his listeners at every turn of a musical phrase. `Panchasya' in Natta had a bit of neraval and the effortless description of the raga Sooryakantham and the rendition of `Vaiswanara,' earned applause. After an appealing Saraswathi (`Saarasabhava') on Devi, came majestic Sankarabharanam.
The composition `Panchanana Mahadeva' had a pulverising sequence of swara.
T.H. Subrahmaniam was competent on the violin, Chennai Ramesh, on the mridangam, highlighted the glittering features of the Karaikudi Mani style. Thripunithura Radhakrishnan ably handled the ghatom.
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