Vocal tribute concert by LAKSHMI RANGARAJAN and SUBHASHINI PARTHASARATHY at Hamsadhwani on the occasion of Birth centenary celebrations of legendary Carnatic musician T.M. THIYAGARAJAN.
| Photo Credit: SRINATH M
Considered a ‘Musician’s Musician’, T.M. Thyagarajan was known not just for deep musical knowledge, and commitment to tradition but also his humility. On his birth centenary year, as we discuss the many traits of his art and personality, Hamsadhwani recently organised a tribute concert featuring his two prime disciples — Lakshmi Rangarajan and Subhashini Parthasarathy. Apart from singing his favourite compositions, the duo also shared their experience of training under him.
The vocal concert by LAKSHMI RANGARAJAN and SUBHASHINI PARTHASARATHY at Hamsadhwani on the occasion of the Birth centenary celebrations of legendary Carnatic musician T.M. THIYAGARAJAN in June 2023.
| Photo Credit:
SRINATH M
While Lakshmi recalled how TMT insisted on strict adherence to patantharam as well as the other aspects of classical music such as niraval, alapana and swaraprastara. Subhashini mentioned how he was a stickler for discipline, and wanted his disciples to follow it both in their personal life and in music.
The concert was fastidiously structured as advised by their illustrious guru. Every composition presented by the duo, from the opening varnam ‘Vinayaka charanam’ in raga Kalyanavasantham (by TMT) to the closing Thiruppugazh, was presented meticulously without compromising on their aesthetic elements.
The concert also showed how two singers from the same school can perform in complete sync with their well-timed rendition and swara exchanges.
Vocal tribute concert by LAKSHMI RANGARAJAN and SUBHASHINI PARTHASARATHY at Hamsadhwani on the occasion of the Birth centenary celebrations of legendary Carnatic musician T.M. THIYAGARAJAN in June 2023.
| Photo Credit:
SRINATH M
Subhashini drew a brief outline of Pantuvarali for ‘Ninnu nera nammi’ by Tyagaraja. The swara trades at ‘Veda sastra purana’ had enough verve. A crisp essay of Ritigowla by Lakshmi was segued to the poignant ‘Ninnu vina marigalada’ by Syama Sastri. Raga Mohanam, rarely heard in concerts these day, was taken up for detailing. Lakshmi’s elaborate presentation brought out the myriad shades of the raga. The kriti was the unique ‘Kadambari priyayai’ by Muthuswami Dikshitar, and the engaging swara exchanges at the anupallavi ‘Madhurya vakprada’, enhanced the appeal.
The raga of the evening was a well-formatted Karaharapriya. While Lakshmi neatly developed the raga treatise with the signature nuances in the lower and madhyama sections, Subhashini handled the upper sancharas and the concluding sections. Tyagaraja’s ‘Nadachi nadachi’ was their choice. ‘Pudamisuta sita’ was extended for niraval and swara sallies by the duo. The daivatam-centric exchanges ended with a beautiful korvai by Lakshmi.
R.K. Shriram Kumar is a peerless violinist, who is at ease accompanying both young and senior singers. In this concert too, he followed the duo meticulously in all segments besides adding his imagination to highlight the beauty and quality of ragas and swaras.
K. Arun Prakash on the mridangam and Anirudh Athreya on the kanjira kept up the tempo with their fine grip on the rhythm. Their restrained and thoughtful playing during the tani avartanam showed their percussive skills.
Lakshmi and Subhashini also rendered ‘Palimpa rava’ in Arabhi by Pallavi Sesha Iyer, ‘Rama rama’ in Vasantha by Purandaradasa, and ‘Nenjinil niraindidum ranjani’ by N.S. Chidambaram. These were set to a string of Ranjani ragas as ragamalika.
The concert that followed TMT’s time-tested kutcheri style, especially in the raga essays and swara patterns, showed how simplicity, sincerity and classicism always hold their own in music.
