Superb musical fiesta
G. JAYAKUMAR
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Vocal and instrumental concerts and bhajans by renowned artistes enthralled rasikas.
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Demonstrating the versatility and musical ingenuity that has made him one of the greatest vocalists of our times K.J. Jesudas' carnatic vocal concert proved to be a glorious finale to the 10-day long Soorya Dance and Music Festival 2006.
The music programmes of the previous days included vocal and instrumental concerts and bhajans by renowned artistes.
The festival held at Tagore Theatre in Thiruvananthapuram, began with music director and vocalist M. Jayachandran presenting a pleasing blend of classical and semi-classical film songs. Accompanying Jayachandran were vocalists Kavalam Srikumar, Manjari and Madhu Balakrishnan.
The universality and oneness of music was stressed with Jayachandran giving an alaap of Hamsadwani in the Hindustani style. This was picked up by Kavalam Srikumar rendering the Carnatic `Vatapi Ganapathim Bhajeham.' Madhu Balakrishnan followed with a medley of semi-classical film songs. The mix of classical and semi-classical numbers in both the Indian streams of music enchanted the listeners.
Saxophone concert
Kadri Gopalnath's 90-minute concert began with a kriti in Bahudari set to Adi talam. The kriti was Thulaseevanam's `Swara manasa.'
Next, he chose Swati Tirunal's `Sarasaksha' in Pantuvarali, a raga considered to be apt for evenings. The kriti was Swati Tirunal's `Sarasaksha.' Tyagaraja's `Enthu soukhyam' in Kappi was well presented. Kadri Gopalnath concluded his recital with a few thukkadas.
The next concert was by playback singer Gayatri. She started her Hindustani vocal concert in vilambit ek taal. The raag was Jay Jayanti, which is similar to the Carnatic Dwijavanti. Gradually, she moved on to the drut bandish `Laj rekho sayya,' composed by her guru Vinayak Torvi.
Gayatri concluded her recital with Bhaje muraleeyam, a bhajan popularised by Pandit Bhimsen Joshi. It was in the raag Patdweep. The short concert left the listeners yearning for more of her soothing voice.
A jugalbandi was a meeting of two forms of Indian music - Hindustani and Carnatic. Ramesh Narayan, a disciple of Pandit Jasraj, and Sreevalsan J. Menon, whose guru is Neyattinkara Vasudevan, kept up a lively interplay of Carnatic and Hindustani music that was was invigorating.
Melody queen K.S.Chitra's performance comprised devotional songs in Hindi, Tamil, Malayalam, Sanskrit, Marathi, Kannada,and Telugu. Chitra began with Gajananam, an invocation to Lord Ganesha. Then followed a smooth flow of bhajans, each a gem.
T.M. Krishna's Carnatic concert began with a varnam `Sarasoodaninne kori' in Saveri set to Adi talam. While rendering a kriti in Kedaragoula, the vocalist displayed his exquisite talent through the smooth sancharam. The kriti `Saraguna palimpa' set to Adi talam brought out the bhakti bhava. For the main composition of the day, T.M.Krishna chose Todi. After an elaborate ragavistaram, he moved on to the kriti `Ninne nammi' set to Misrachappu talam.
Grand finale
Rich tonal quality, bhakti bhava, superb breath control, and above all total involvement characterised Jesudas' concert.
Jesudas started his recital with `Sarasijanabha mampahi,' a varnam of Parameswara Bhagavathar in Natta set to Adi talam. All the intrinsic qualities, especially bhakti of the raga Shanmukhapriya were brought to fore in the Tyagaraja kriti `Vadane nee rulegu' set to Adi talam. Jesudas scaled all the three sthayis with ease. Jesudas concluded his vocal recital with `Kaa vaa vaa,' `Narayanathe namo,' `Kanante punya namam,' `Enth athisayame,' `Harimuraleeravam,' `Harivarasanam,' and `Yogeendranam.'
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