Melody rains on Swathi fete

Young talents

Last Sunday featured concerts by two young and upcoming musicians, with the same set of accompanists. Master Mahadevan gave a veena concert that included a mix of rare and popular songs like Deva Deva Kalayami in Mayamalavagowla.

Surabhi Pusthakam from Mysore sang rare and beautiful songs like Padmanabha in Malayamarutham and Reena Madanutha in Behag.

The concert the next day was by Brinda Manickavasakan who came up with a sterling performance that highlighted her Guru Parampara from the Musiri tradition, with masterpieces from Swathi Thirurnal like Anjaneya in Saveri and Rasa Vilasa in Kamboji.

She sang a padam in Manipravalam, a Javali in Telugu and a Bhajan in Hindi, showcasing the Maharaja’s linguistic skills and variety.

Veteran Guru Thamarakad Sri Govindan Namboothiri came up with a nostalgia inducing concert, comprising of rare compositions like Maharaja’s Varnam in Mayamalavagowla and Smara Manasa in Durbar.

One of the most brilliant concerts in the series was by Amith Nadig from Bangalore, reminding listeners of a young Pandit Hariprasad Chaurasia. Amith regaled the audience with stunning renditions of much loved compositions like Bhogeendra Shaayinam in Kunthalavarali.

On Thursday, young Kashyap Mahesh from Trichy sang a rare Tamil Pada Varnam by Swathi in raga Kalyani and followed it up with other rare gems like the Dasavatharam Ragamalika.

Senior Vidwans

There are ragas and ragas but there is nothing like a mellow and melodious Mohanam.

Bringing the curtain down on the annual Swathi Music Festival here on Friday, Sanjay Subrahmanian presented a pleasing rendition of this pentatonic raga, which has a universal resonance, through ‘Paripalaya Maam Nrihare’ composed by Swathi Thirunal at the majestic setting of the Kuthiramalika built by the king. Sanjay is known for his powerful voice, intellectual essays of raga bhava and a style which takes all listeners, laymen and the connoisseurs alike, to aesthetic heights.

The Ramapriya composition of Swathi Thirunal ‘Samodam Paripalaya’ was the main piece of the evening and the maestro milked the essence of this raga which has shades of Poorvi Kalyani and Vachaspathi.

Prince Rama Varma, who has been spearheading the festival initiative for the last several years, began the festival with a concert which was noted both for its exquisite content and style.

Amrutha Venkatesh, who is equally well versed in singing and playing the veena revealed her skills on the second day with a brilliant concert which included rare compositions like the Maharaja’s Pada Varnam in Neelambari, Pankajaksha Thava Sevam in Thodi and Jagadeesa in Nattakurinji.

The third day featured a tiny stick of dynamite in the form of schoolgirl Aditi Prahlad who gave a solid three-hour concert without even taking a sip of water. Displaying a level of poise and maturity far beyond her age, she kept the audience riveted from start to finish, where she came up with rare compositions like Swathi Thirunal’s Pada Varnam in Saveri, the Ashta Ragamalika Pannagendra Shayana, Sarasa Suvadana in Kalyani and Andolika Vahane in Anandabhairavi, to name a few.

O.S. Arun has become a regular invitee to the festival and he did not disappoint this time either, with a rollicking concert.

He sang rare compositions like Jai Jai Devi in Hamsadhwani, Smara Hari Padaravindam in Sama, Smarathinu Maam Sadayam in Behag and Saadhu Tada from Maharaja’s Kuchelopakhyanam, set to tune in raga Vakulabharanam by Prince Rama Varma and the Bhajan Naache Raghunath in Mishra Pilu.

More than 60 different compositions of Swathi Thirunal were covered in the fete. The ten-day programme keeps alive the tradition of the Maharaja, who did not have a direct lineage of disciples, as Princess Pooyam Thirunal, the chief organizer, said in her opening remarks.