Obeisance to maestro
V. BALASUBRAMANIAN
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After veterans paid homage to A. Sundharesan, Neyveli Santhanagopalan offered a vintage concert.
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BOOK RELEASE: Chingleput Ranganathan (extreme left) receives the first copy from P.S.Narayanaswamy. Cleveland Sundaram looks on.
The dark clouds looming large did not deter the large number of rasikas who gathered at the Raga Sudha Hall on July 7, where an evening was dedicated to the late vidwan A. Sundharesan. Releasing a book of hand written notations by Sundharesan titled
, “Rare Kritis of Trinity,” Vidwan P.S.Narayanaswamy recalled his years of fruitful association with the author. “His penchant for participating in akhandam (singing continuously for 24 hours sans ragam and swaram) and presenting rare compositions made him special. He was an avid follower of world cricket never missing an opportunity to watch matches on television,” he added.
Vidwan Chingleput Ranganathan who received the first copy said that such was the repertoire of Sundharesan that he could easily be depended upon to play anchor during akhandam, particularly during the wee hours, when not many would come forward to sing. He appreciated the Guru Bhakthi of his disciples.
Reminiscing, Cleveland V.V.Sundaram said, “His handwriting was almost print like. In spite of his job in railways, he always had the time and patience to research for rare kritis of the Trinity. He was never after money and was willing to teach sincere students.”
Photo: K.V.Srinivasan
Neyveli Santhanagopalan presenting a memorable Trinity bouquet.
The full house comprising vidwans, musicologists and rasikas was proof enough of the respect the vidwan commanded in the music field.
Pure and divine music
It soon was time for music and what the audience got was music pure and divine, courtesy Neyveli Santhanagopalan.
An emotion-charged “Kuvalayadala” (Natakurinji-Adi-Tyagaraja) marked the beginning. The Varali alapana that followed was a classical delight with vilamba phrases. “Nay Pogadakunte” (Kandachapu-Tyagaraja) was the kriti. A Subhapantuvarali version too is in vogue. Adopting a style that suited the main singer’s taste, Mannarkoil J.Balaji’s (mridangam) drew the attention of the rasikas with soft tekas.
With a voice that was extremely cooperative Santhanagopalan presented Sankarabharanam in a nutshell. Choosing an appropriate speed, he interpreted Bhakthi Bichcha Meeyaway (Rupakam, Tyagaraja) effectively with right dosage of swaras. One could not help thinking of M.D.Ramanathan at times.
A rare gem “Daya Jhuchuta Kidi” (Ganavaridhi-Adi-Tyagaraja) preceded an aesthetically different Saveri alapana. A livelier concoction of madhyama kala akhara phrases left the rasikas in an exalted state.
Vittal Ramamurthy (violin) maintained the tempo in his spirited reply. Daridapu Leka (Adi-Tyagaraja) found him executing the niraval in the anu charanam “Valachi Pada Mula” marked by subtle and suggestive phrases.
The concert took a turn from the Tyagaraja course at this point with Santhanagoplan presenting Annaswami Sastri’s “Sri Lalithe” (Bhairavi-Adi) with kalpanaswaras on creative lines. J. Balaji and H. Sivaramakrishnan(ghatam) continued their good work in the tani with Balaji coming up with interesting patterns in the tisranadai. “Kothandarama” (Kokilaravam-Adi-Dikshathar) and “Karunajuda Ninnunammina” (Sri-Adi-Syama Sastri) were the end pieces.
That there was never a dull moment during the entire concert goes to prove what an invaluable treasure the Trinity has left behind.
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