Rich homage to a saint-composer

It is Thyagaraja Aradhana season once again and all over India the saint-composer is receivinghomage. In Hyderabad, the Vignana Samithi organised their 47th Annual Music-Festival 2024 with 177th Sri Thyagaraja Aradhanotsavam recently.

The fest began with a Nadaswaram recital and Vedic recitation. The title Sangeeta Vignana Visharada was conferred on voco-violinist P Purnachander who also performed. The previous day had Unchchavritti by Jonnalagadda Eswara Prasad.

The Thyagaraja Pancharatna Krithi Gosti Gaanam had enthusiastic participation from around 150 musicians.

Day One saw the brilliant musician-duo, Malladi Brothers, who always regale audiences with performances marked by tonal purity, laya-gyaanam, melodious vocals, creative manodharma and wide repertoire. They were accompanied on violin by R Dinakar, mridangam by DSR Murthy, and kanjeera by Shyam Kumar. They chose to focus on a few rare Thyagaraja Krithis: YepanikoJanminchithivi (Phanisai); Daridapu (Saveri), etc. A major piece was Nadachi Nadachi Ayodhya (Kharaharapriya), an apt and predictable choice given the nationwide attention on Ayodhya now.

Tuesday: DV Mohana Krishna presented Tiruvathiyur Pancharatna Krithis with vocal support from Sai Charan Bhaskaruni and Ivaturi Harini. He interspersed the melodious concert with explanations of the meaning and context in which Thyagaraja had composed and rendered these krithis. O. Rajasekhar on violin and CH Ramakrishna on mridangam provided able accompaniment.

Kamala Ramani’s concert with Kolanka Saikumar on violin and P Srinivasagopalan on mridangam followed in which the audience, once again, got to savour more Thyagaraja compositions.

Rani Sreenivasa Sarma’s well-received vocal concert had support on violin from O. Rajasekhar, and mridangam by CH Ramakrishna. The artiste rendered Girirajasuta (Bangala), Nagumomu (Abheri), Teliyaleru Rama (Dhenuka), Sivasivayanarada (Pantuvarali), Koluvaiyunnade (Bhairavi).

Vocalist Kruti Vittal was accompanied by the violin of Komanduri Krishna, mridangam of P Phalgun, and ghatam of S Hanumantha Rao. Her mellifluous vocals and command over shruti and laya have won her connoisseurs’ appreciation. She rendered Koluvaiuinnade, Manasu Swadheenamaina (Shankarabharanam), Ragaratnamalikache (Reetigowla), etc. The main piece was also impressive: Thyagaraja’s masterpiece, O Rangasai (Kambhoji). The audience also enjoyed a sparkling tani-avarthanam.

Wednesday: In her flute recital by Vadali Lakshmi was accompanied on violin by Shanmukha Srivatsa and on mridangam by Arangi Srinivasa Rao. Her performance reminiscent of her guru Ananthakrishna’s style featured Adamodigalade (Charukesi), Gnanamosagarada (Poorvikalyani), and elaboration, with a soothing ragalapana and later neraval, of Yevarimatavinnavo (Kambhoji), etc.

Next followed a bhaava-laden, mellifluous vocal recital by Canada-based Vempati Kamala Deepti with excellent support from Pappu Gyandev on violin, DSR Murthy on mridangam, and K. Shyam Kumar on kanjeera. The recital showcased Raghukulamandu (Hamsadwani), Nadasudharasa (Aarabhi), Entavedukondu, etc. The outstanding piece was Yennalu (Shubhapantuvarali).

Thursday saw a vocal recital by Master Malladi Sivananda Yasaswi with violin by Mallajosyula Sivateja, and mridangam by Krishna Sravan. All three have been groomed by great artistes: Malladi Brothers, Kanyakumari Avasarala and Patri Satish, respectively. Their sparkling concert was marked by the renditions of Kotinadulu (Todi), Yevarikai Avataramettitivo (Devamanohari), Raghuvaranannu (Pantuvarali), etc. Manda Sudharani, an accomplished vocalist, gave a superb performance with Srikanth Mallajosyula on violin and Kotipalli Ramesh on mridangam. She gave bhaava-rich renditions of Rara Maa Intidaaka (Asaveri), Tatvamerugatarama (Garudadhwani), Needayaraada, etc. Her learned ragam-thanam-pallavi showcased Ganabala Murali (Shanmukhapriya) a Mangalampalli Balamuralikrishna composition.

Friday saw vocalist Ch. Krishnaveni supported by KLN Murthy on violin and P. Vidyasagar on mridangam. Endowed with a sweet, melodious voice and well-trained, she rendered Shrigananadham (Kanakangi), Anupama Gunambudhi (Athana), and chose Gnanamosagarada as the main item with ragalapana. A fast-paced Sarasasamadana (Kapinarayani), and Adamodigalade Ramayya (Charukesi), also featured.

The late evening saw vocalist Ashwath Narayanan take to the stage with a concert that reinforced his excellent reputation. His masterly elaboration of Gyanamosagaraada (Poorvikalyani) complete with imaginative manodharma impressed listeners. Ashwath Narayanan’s other rendition which stood out was Thanayunibrova (Bhairavi). He also rendered Yochana (Darbar), Nannuvidachi (Reetigowla), Srirama Jayarama (Yadukulakambhoji) and a lively Shobillu (Jaganmohini). Melodious violin accompaniment by VSP Gayatri Sivani and Peravalli Jayabhaskar’s mridangam were a perfect complement to Ashwath’s rich vocals.

A young vocalist, drawing attention with her musical competence, Kommajyosyula Alekha performed on Saturday with Shanmukha Srivatsa on violin, and Lakshmi Ajay on mridangam. She rendered Giriraja Suta Tanaya (Shuddha Bangala), Nannuvidachi (Reetigowla), Brobavabharama (Bahudari), and Aaragimpave (Todi) with a soothing ragalaapana and creative swarakalpana. etc. Later, a packed audience savoured a delightful and interesting violin duet betweeen Anuroop CS and child prodigy Ganga Sasidharan, supported by Sadgurucharan on mridangam, CM Ramachandrudu on tavil, and TP Balasubramanyam on ghatam. They started off with Sri Gananadham Bhajamyaham (Kanakangi), learnt only a few days ago. They went on to Yendaro (Sri), Yenthavedukondu (Saraswati Manohari), Samajavaragamana (Hindolam), etc. There was also Nagumomu (Abheri) which was a trifle too fast. Ganga’s scintillating performance with immaculate bowing was much appreciated. The seemingly effortless ease, speed and shruti-shuddham with which she renders swaras at such a tender age, are remarkable.

Sunday evening saw the young and fast-rising musician-duo, the Sarvepalli Sisters take to the stage. Among their renditions: Nannuvidachi (Reetigowla), and Upacharamulanu (Bhairavi). All renditions showed clear enunciation and shruti shuddham. Competent support were provided by violinist Sivateja Mallajosyula and percussionist Krishna Shravan. The Sunday finale had a thematic concert by Seshulatha Viswanath and Neeta Chandrashekhar, titled Geeta Saaram: Thyagaraja Keertanam. It was about how Bhagavad Gita and its philosophy are reflected in Thyagaraja compositions. The duo began with Bagayenayya (Chandrajyoti), a perfect choice especially for words which sum up Lord Krishna’s advice to an anguished Arjuna in the grip of a moral dilemma before the start of the Kurukshetra battle. Proceeding from one chapter to another, the two vocalists gave a talk and then rendered with ease and melodiousness several Thyagaraja compositions like Maakelaravicharamu, Marugelara (Jayantasri), etc. The carefully researched and learned commentary, the melodious krithi-rendition and the competence of the accompanying artistes all made this an event to remember.