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Smooth delineation of ragas

G. JAYAKUMAR

Concert The highlight of a vocal recital by Trivandrum K. Krishnakumar was a Ragam Thanam Pallavi composed by the singer himself.

Photo: S. Gopakumar

Replete with bhavas: Trivandrum Krishnakumar rendered a composition that he had composed as a tribute to all teachers who selflessly and sincerely impart knowledge to their disciples.

The highlight of Trivandrum K. Krishnakumar’s Carnatic vocal recital was the presentation of a Ragam Tanam Pallavi in Koushikadhwani, a janya of Sooryakantham. After a smooth delineation of the raga, Trivandrum Krishnakumar moved on to the tana m, which was deftly picked up by N.C.Madhav on the violin.

Homage to gurus

The piece was composed by the singer himself. Set to Tisrajati Triputta talam, the song, according to the vocalist, was a homage to all those gurus who selflessly and sincerely impart knowledge to their shishyas.

The day was observed as Vechoor Harihara Subramania Iyer Day in memory of the late musician. The concert was organised jointly by Sri Swati Tirunal Sangita Sabha and Vechoor Harihara Subramania Iyer Endowment Committee at Kartika Tirunal Theatre.

Trivandrum K.Krishnakumar is a disciple of the late Neyattinkara M.K.Mohanachandran and M.Balamuralikrishna.

Krishnakumar began his two-and-a-half hour concert with ‘Vanajaksha,’ a varnam by T.R.Subramoniam in Behag. It was followed by the evergreen Hamsadwani composition of Dikshitar, ‘Vatapi Ganapathim.’ ‘Brova vanma thamasam,’ a Syama Sastry kriti in Manji, a janya of Natabhairavi, was noted for its karuna rasam. It was set to misra chappu talam.

Trivandrum Krishnakumar chose Bilahari for the main piece of the evening. The kriti was Mysore Vasudeva Acharya’s ‘Sree Chamundeswari Paalayamam’ set to Adi tala. The portion ‘Mooka vak pradhana vikhyata,’ a reference to Sree Mookambika, was full of bhakti bhava.

Fine taniavarthanam

The taniavarthanam was performed by Parasala Ravi on the mridangam and Anchal Krishna Iyer on the ghatam with finesse.

The vocalist also rendered ‘Venkita Ramani’ in Latangi, ‘Bhogeendrasayinam’ in Kuntavarali and a not-so-popular Tyagaraja composition, ‘Ye dhari sancharin thura’ in Sruthi ranjini.

The tukkadas included ‘Krishna neena anathabandhu’ in Subha pantuvarali, ‘Narayanaya namo madhavaya’ in Sarasangi and a Swati tillana with the sahitya ‘Padmaraga mani alankrita Padmanabham vibhum’ in Bhupalam. He concluded his concert with the mangalam ‘Bhujagasayino.’

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