An elevating experience
G. JAYAKUMAR
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Concerts of veteran vocalists marked the grand finale of the Theerthapada Sangeethotsavam 2006.
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FESTIVE NOTES: T.V. Gopalakrishnan
When veterans hold court, it is an altogether different and elevating experience for the listeners. This was proved on the concluding days of the Theerthapada Sangeethotsavam 2006 as T.V. Sankaranarayanan, T.V. Gopalakrishnan, Perumbavoor G. Ravindranath and Thrissur V. Ramachandran held forth. The Sangeethotsavam also included a good performance by young vocalist Chikkil Gurucharan.
Total involvement
Total involvement is the hallmark of T.V. Sankaranarayanan's Carnatic vocal concert. A faithful disciple of his guru and mentor Madurai Mani Ayyar, the swara prastharas he rendered on the seventh day of the 28th Theerthapada Sangeethotsavam was a replica of his guru's bani.
The first two pieces, one in Mohanam and the other in Huseini, served as warming up for the Poorvikalyani ragam that was to follow subsequently. The kriti `Varadasaneshri' of Venkitaremana Bhagavathar set to Adi talam was preceded by a detailed exposition of the raga.
Chikkil Gurucharan
Embellished with apt gamaka prayogas, and swara sancharam, the piece proved to be refreshing. Madhavan Nambudiri lent vocal support to TVS.
T.V. Gopalakrishnan chose a kriti in Saveri as the main item in his concert the next day. The composition `Bhoothanatha mampahi' composed by Thulaseevanam was preceded by a short raga alaap. Earlier, TVG began his concert with `Valachi,' a varnam in Navaragamalika set to Adi talam.
Thrissur V. Ramachandran.
The day being a Friday, it was only appropriate that he rendered `Chirantarasam,' a Muthuswami Dikshitar composition in Lalitha. Traditionalists believe that Lalitha raga is best sung on that day of the week.
TVG also sang `Muruga' in Harikamboji composed by Thanjavur Sankara Iyer. In his rendering of the swaras in Tyagaraja's `Dwaithamu Sukhama Adwaithamu Sukhama' in Ritigaula and Lalithadasar's `Samagana vinodhini' in Hamsanandi, the influence of his guru Chembai Vaidyanatha Bhagavathar could be clearly felt.
C. Rajendran provided able support to TVG throughout the concert.
Choice of ragas
Perumbavoor G. Ravindranath's concert was distinctive for the choice of ragas like Bahudari, Hindolam, Vrindavan saranga, Lathangi and Begada. However, the major attraction of the concert was the Dikshitar kriti `Sri Krishnam' in Todi set to Adi talam.
A neat delineation of the raga was followed by its reproduction on the violin by N.V. Babu Narayanan.
Ayamkudy Mony's concert on the tenth day was marked by brisk kalapramanam and brigas. The vocalist chose Sankarabharanam for detailed presentation. The kriti was `Deva Jagat Janani,' a Swati Tirunal composition set to Adi talam. Ayamkudy Mony began his concert with a varnam composed by G.N. Balasubramaniam. On the penultimate day of the Sangeethotsavam, Chikkil Gurucharan, a young vocalist attracted the attention of the gathering with a composition in Kalyani. The kriti `Kamalambam bhajare' of Dikshitar set to Adi tala stood apart for the alapanam.
On the final day of the Sangeethotsavam, the veteran Carnatic vocalist Thrissur V. Ramachandran elaborated the ragabhava of Kambhoji. The kriti chosen was Thulaseevanam's `Sri Padmanabha' set to Misra chappu talam. The rendering was marked by manodharma sangeetam. TVR showed his loyalty to his guru G.N. Balasubramaniam by sticking to the sampradaya bestowed on him by his teacher.
Commencing with a varnam in Begada, TVR followed it up with a GNB composition `Karimughavarada' in Natta. Next was a Thulaseevanam kriti `Amaya karuna' in Poorvikalyani, the central piece of the vocal recital.
He also rendered `Rara pani sayane,' a Tyagaraja kriti in Harikambhoji set to Rupaka talam. The other pieces included `Parithapam' (Kanada), `Unnadiye gati' (Bahudari) and `Emi nerannu' (Sankarabharanam).
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