Emphasis on patanthara
LALITHAA KRISHNAN
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DEVOTIONAL The disciples of Nedunuri Krishnamurthi rendered the songs of Annamacharya for Lalitha Kala Vedika.
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Melodious: V. Venkateswara Sarma (left) and B. Krishnamacharyulu.
An evening of devotional music organised by Lalitha Kala Vedika in memory of founder and patron of the arts, B.V.S.S. Mani, turned the spotlight on Annamacharya and Bhadrachala Ramadas compositions. The programme featured the Chaitanya Brothers ̵
2; V. Venkateswara Sarma and B. Krishnamacharyulu from Visakhapatnam, accompanied by H. Ramcharan (violin) and K. Sai Giridhar (mridangam). Disciples of Nedunuri Krishmamurthy and G. Balakrishna Prasad, the vocalists’ renditions reflected the emphasis laid on patanthara.
The prayerful homage in Bowli determined the tone of the recital. Crystal clear articulation of sahitya along with a profound sense of identification with the spirit of the compositions and the absence of aggressiveness all contributed to an apt tribute to the two saint composers.
After a melodious start with ‘Sakala Shanthikaramu’ (Bahudari), the artists moved on to a poignant ‘Ayyayyo Neevanti Anyaya Dhaivamu’ (Mukhari) and ‘Bhajare Sri Ramam’ (Kedaram).
Detailed interpretation
There are not very many compositions in Shanmukhapriya making the rounds on the kutcheri circuit despite the raga lending itself to detailed interpretation in myriad intriguing shades. Therefore ‘Palu Vichaaramulela’ came as a pleasant surprise. It was a jaunty Saveri that strode through ‘Sri Ramula Divya Nama.’ ‘Anagaadhu Raghupathe’ (Khamas) and ‘Appappa Rama Nama’ (Dhanyasi) drew from a distinctly traditional palette. Tuned to the irresistible lilt of raga Hindolam that fit the lyrics like a glove, ‘Deva Devam Bhaje’ made an appealing statement sans light touches.
Other compositions firmly rooted in the classical idiom included ‘Yemaiyya Rama’ (Khambodi), ‘Anthaa Raamamayam’ (Varali) and a soothing ‘Hari Hari Rama’ (Kanada). A Dwijavanthi-based ‘Ramachandrudithadu’ and the popular ‘Muddugare Yashodha’ (Kurinji) communicated a folksy flavour. In the absence of raga alapana, niraval and kalpanaswara, the vocalists’ creativity could have explored the scope for manodharma offered by the viruttam format of the verses that preceded some of the compositions. However, the duo chose to treat this as a compositional form as well.
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