The zest and zeal to conquer higher echelons of musical contours and the spontaneity with which it is attained are the major distinguishing traits of maestro T.V. Sankaranarayanan. Enriching the rich legacy inherited from his uncle and mentor Madurai Mani Iyer, he regaled an audience at Kuzhur Subramanya temple, in connection with the Ekadasi festival.
Right from the initial virutham succeeded by ‘Mahaganapathe’ (Hamsadwani), which was studded with a shower of swaras, he sustained the tempo throughout the essay. A full-throated rendering of ‘Mohanakaramuthukumara’ (Neethimathi) and ‘Subramanyena’ (Sudhadhanyasi) followed. Poorvikalyani was taken for a detailed alapana, which was carefully built up, layer by layer, and tagged to his masterpiece, ‘Inthaparamukham’.
‘Pazham nee Pazhani’, a Bhairavi kriti by Periaswamithooran, was given a sheen with the swaraksharaprayoga at upper octave panchamam. ‘Hariharasuthan’ in Shanmukhapriya, a kriti by an anonymous author and tuned by TVS himself, was apt for the occasion. It was a kriti on Lord Ayyappa, tuned in the raga that bears the name of his brother Lord Muruga, which was being rendered at a temple dedicated to Muruga, during the month dedicated to Lord Ayyappa.
Mohanam was taken up for detailed alapana and he detailed every aspect of the raga. Papanasam Sivan’s ‘Kaapali’ was sung with swara passages of different permutations. A ragamalika slokam of Guhan coloured with Hindolam, Hamsanandi and Bhimplas was followed by his uncle’s favourites – ‘Eppovaruvaaro’ in Jaunpuri and Sankarabharanam note.
Violinist Idappally Ajith lent excellent support throughout the concert. Mannargudi Eswaran enhanced the concert with his elegant, delicate rhythmic patterns, occasionally acting as a buoyant force in energising the musician. He encouraged the upapakkam artiste Vazhappally Krishnakumar, with the latter rising to the occasion. Both played a well-structured thani for the Mohanam piece.
