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Ragas of a festival

JAYARAMAN V

Talented musicians and singers made the music festival at Chakkamkulangara Temple, Thripunithura, a memorable occasion for music buffs.



Mellifluous renditions: Lalgudi G.J.R. Krishnan and Lalgudi Vijaya Lakshmi

Captivating raga delineation, clean diction, perfect intonation and command over laya aspects made a vocal performance by V.R. Dileep, held in connection with the festival at Chakkamkulangara Temple, Thripunithura, a memorable one.

This young singer, who hails from Kunnamkulam, is a disciple of Mangad Nateshan. Beginning with ‘Sarsudaa,’ a varnam in Saveri, composed by Kothavaasal Venkata Rama Iyer, the vocalist then presented the Tyagaraja composition ‘Teliya leru’ in Dhenuka. ‘Ardhanareeswaram,’ a composition by Dikshitar in Kumudakriya, was followed by a gripping depiction of Kambhoji. After thaanam, he rendered ‘Kailasa Nathena’ by the same poet-composer.

Edappally Ajithkumar on the violin, Cherthala Dinesh on the mridanagam, and Elenjimel Sushilkumar on the ghatam, provided accompaniment.

Violin duet

A violin duet by Lalgudi G.J.R. Krishnan and Lalgudi Vijaya Lakshmi is always refreshing, as the elder brother become a good foil to the younger sister in terms of technique. The duo set off with the Dikshitar kriti ‘Pancha Maathanga’ in Malahari, which was decked with swara playing.



Trichi V. Pradip Kumar were some of the musicians who participated in the music festival.

After Swati Titunal’s ‘Jaya jaya Padmananabhaanu Jesha’ in Manirangu, Krishnan came up with a fluent Sahana and the krithi ‘E Vasudhaa’ by Tyagaraja.Vijaya Lakshmi played a Bhairavi and ‘Lalithe Sree,’ one of the Lalgudi Pancharathnams, was gracefully aligned to it. Krishnan came on with Sanakarabharanam and ‘Dakshinamoorthe,’ a Dikshithar piece, set to misra Jhampa, became the nucleus of the concert. Padri Satishkumar on the on the mridangam, Kangazha Vasudevan Namboothri on the ghanjira and Thripunithura Radhakrishnan on the ghatam ably supported the siblings.

Interesting feature

An interesting feature about P. Unnikrishnan’s concerts is his decision to borrow a feature from the Ariyakudi school of music in not wasting time when on stage.

His Lathnagi was excellent with ‘Pirava’ by Papanasam Sivan, Saveri (‘Sabheshan’ by Dr. S. Ramanathan) and a detailed version of Kambhoji merging with ‘Thiruvadi saranam’ (GopalaKrishna Bharathi). T.H. Subrahmaniam and Thrissur Narendran bewitched the listeners. Radhakrishnan matched them on the ghatam.

Trichi V. Pradip Kumar proved his mettle in the varnam in Mohanam, ‘Ninnu Kori’ by Ramanathapuram Srinivasa Iyengar, which was sung effortlessly, in varying tempos.

This effortless style of singing was proved yet again when he rendered ‘Dudugu’ in Gowla Pancharathnam, ‘Ananda Natana’ in Kedaram and ‘Brihaspathe’ in Atana, both by Dikshitar, and Swati Tirunal’s ‘Paalayamam’ in Khamas.

T.H. Subrahmaniam played the violin. V.V. Ramana Moorthy and and Adichanallur Anil Kumar handled the mridangam and the ghatom with efficacy.

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