Musical homage
G. JAYAKUMAR
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Trimurthy Music Festival paid tribute to the trinity of Carnatic music - Syama Sastry, Tyagaraja and Muthuswami Dikshitar.
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PHOTOS: S. GOPAKUMAR
MELODIOUS TRIBUTE: A.K.C.Natarajan made the Trimurthy Music Festival a memorable occasion for music lovers.
Trimurthy Music Festival was an occasion for music lovers to gratefully remember the contributions of the trinity of Carnatic music, Syama Sastry, Tyagaraja and Muthuswami Dikshitar. The three-day festival, organised by Sri Swati Tirunal Sangita Sabha, featured one clarinet and two vocal concerts dedicated to the trinity.
Enlivening performance
On the opening day, A.K.C.Natarajan, whose name is synonymous with the clarinet, presented the compositions of Syama Sastry in an enlivening concert. The clarinet is one of the most versatile of woodwind instruments and finds pride of place in Western classical, jazz and Carnatic music.
Natarajan began with `Tharunamidamma' in Gowlipanth set to Adi tala. `Palimsu kamakshi' in Madhyamavati was the main attraction of the kutcheri. The smooth and mellow tone with tapering cadences to the accompaniment of the violin played by S.R. Mahadeva Sarma elevated the recital to sublime heights. The thaniavarthanam was performed by P.L.Sudheer on the mridangam and Trivandrum V.Surendran on the ghatam.
`Himadri sudhe' in Kalyani, set to Rupaka tala, was absorbing. Natarajan also played `Sankari Sankuru' (Saveri), `Marivera gati' (Anandabhairavi), `Kanakasaila' (Punagavarali) and `Devi' (Chintamoni).
Rich tonal effects
B. Arundhati's vocal concert on the second day was noted for the rich tonal effect. Arundhati's emotive rendition captured the bhava of the kritis.
She started with Parameswara Bhagavathar's `Sarasijanabha' in Natta set to Adi tala. It was followed by `Retna Ganapathim' in Mohanam. She also rendered `Anandeswarena' in Anandabhairavi and `Anandamruthakarsini' in Amritavarsini.
Muthuswami Dikshitar's `Balagopala' in Bhairavi, Adi tala, was the main item of the recital. It was apt that she rendered the neraval at `Neela Neerada Sareera,' followed by swaras. Attukal Balasubramanian gave able support on the violin. The thaniavarthanam was pleasingly performed by Nanchil Arul on the mrudangam and Sreerangam Ravikrishnan on the ghatam.
B. Arundhati.
The other compositions included Mamava Pattabhi Rama (Manirang), Ramanatham (Pantuvarali), Annapoorne visalakshi (Sama), Jagado udharana (Peelu), Ali veni (Kurinji) and a tillana (Dhansree).
The final day's vocal concert by Koviladi Madhvaprasad was devoted to Muthuswami Dikshitar's compositions.
Brisk rendition
An A-grade vocalist as well as mridangam artiste from AIR Trichy, Koviladi Madhvaprasad's concert was noted for laya and brisk rendering of swaras. The physical gestures of the vocalist during the singing indicated his uninhibited enthusiasm.
Koviladi Madhvaprasad commenced with a Navaragamalika varnam `Vallachi' set to Adi tala. He followed it with the oft-repeated `Vatapi Ganapathim' in Hamsadwani (Adi tala). Next was `Marukelara.' The kritis `Marubalka' in Sriranjini and `Sandehamo' in Ramapriya were captivating. `Jaya Jaya Padmanabha' in Manirang extolled the virtues of the Lord.
In the ragam tanam pallavi, Koviladi Madhvaprasad delineated subtly the intricacies of Todi. The kriti `Koluvamaragatha' was set to Adi tala.
T.V.Ramanacharlu accompanied on the violin. The thaniavarthanam was performed by Salem K. Sreenivasan on the mrudangam, Sreerangam Ravikrishnan on the ghatam and Kottaram Muraleedharan on the morsing.
Koviladi Madhvaprasad.
The thukadas included `Karunajaladhe' (Nadanamakriya), `Geetharthamo' (Surutti) and `Thukirerengane' (Mohanam).
Towards the end of the concert, the veteran vocalist G.N. Desikan, disciple of Madurai Mani Iyer, took the stage and sang a few lines with Koviladi Madhvaprasad, who also accompanied on the mridangam.
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