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Follower of sampradaya

P. VIJAYAMBIKA

Vechoor Sankar delighted music lovers in Palakkad with his selection of compositions and strict adherence to diction.



Erudite performance: Vechoor Sankar.

Seasoned vocalist Vechoor Sankar treated rasikas to a musical evening at Vithunni Saneeswara Temple, Palakkad. Sankar's open-throated voice that traversed various octaves with ease was melodious.

His strict adherence to sampradaya and dynamic style of raga elaboration, developed stage by stage, are features he picked up from his paternal uncle Vechoor Hariharasubrahmaniayyar and his gurus Vaikkom Vasudevan Namboothiri, Vaikkom Rajammal and Kumarakerala Varma.

Sankar's attention to detail in terms of song selection is praiseworthy. The vocalist performed a mix of rare and popular numbers with strict attention to diction.

His raga delineation of Reetigoula, Vachaspati and Madhyamavathi were marked by depth and classicism. Excellent support by Nedumangad Sindhu on the violin and Nandagopal, Sankar's nephew, on the mridangam elevated the aesthetic level of the concert.

Lilting varnam

The concert began with a lilting Adi tala varnam ‘Evaribodhana,' composed by Patnom Subrahmaniayyar in Abhogi. The poorvaga was sung in Madhyamakala and utharanga in second speed. Next came ‘Gajanana pahi,' a rare composition of Lalithadasar in Jaganmohini, Roopaka tala, tuned by Chembai Vaidyanatha Bhagavathar.

A melting Reetigoula for a rarely-heard devout composition of Oothukkadu –‘Vrindavana nilaye Radhe' – had rhythmic jathis and swaras.

A dexterous Vachaspati for Papanasam Sivan's ‘Parathpara' was embellished with a delectable niraval and a spate of manodharmaswara at ‘Hari Ayanum kana Ariya Jyothi….'

A brisk ‘Paramapurusha,' composed by Swati Tirunal in Vasanta, was followed by the highlight of the evening a melodious Madhyamavathi. Luxurious treatment of the raga, with subtle gamakas filled with ragabhava brought to fore its charm. Sindhu's portrayal of the ragas was noteworthy.

Tyagaraja's ‘Ramakadhasudha' and its ornamented niraval at ‘Bhamamani Janaki….' was embellished with fine and subtle sangatis. Cascading swarasanchara followed. Nandagopal ably accompanied the vocalist on the mridangam. The tani was arresting.

Dikshithar's ‘Gajambanayako' (Misra chappu tala) in Chenchurutty, a Malayalam Thillana of Kumarakeralavarma in Kunthalavarali and an auspicious ‘Namasthe Mahalakshmi' were the concluding numbers. The concert was held under the auspices of Swathi Sangeetha Sabha, Palakkad.

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