T.S. Pattabhirama Pandit’s concert in the afternoon slot took the rasikas on a melodic journey.
His ability to assimilate the attributes of a raga to convey its authentic form came to the fore right in his opening sketch of Sri. In ‘Sri Varalakshmi Namasthubhyam,’ Dikshitar invokes the Goddess of fortune and pleads for Her protection. ‘She gives liberation (kaivalya) and bestows the desired boons,’ he says. In the madhyamakala segments, Pattabhirama Pandit succeeded in conveying the essence of the raga. The swaraprastara at the Pallavi further ornamented the kriti.
Pattabhirama presented the Tiruppavai Pasuram, ‘Azhimazhai Kanna’ in Varali, Adi tala (two kalai). The niraval at ‘Vaazha Ulaginil’ was creative. The phrases rendered by him were tuneful, which proved his grooming under stalwarts — Dr. S. Ramanathan and K.V. Narayanaswamy.
Swati Tirunal’s ‘Gopalaka Pahimam Anisham’ in Bhoopalam is set in Misra Chapu – charming for the duritha kala sahityam in Pallavi, Anupallavi and Charanam. Pattabhirama made full use of this unusual structure. He offered intricate, delicate swaraprasthara at ‘Murashasana Gopalaka’.
In ‘Atu karadani’ (Manoranjni – Manavathi mela) Saint Tyagaraja pleads to the Lord to have concern for him.’ Pattabhirama effectively highlighted this emotion in his rendering. He was totally at home in the elaboration of Gamanasrama.
The violin exposition for the raga by T.K.V. Ramanujacharlu had an aesthetic appeal. Dikshitar’s ‘Meenakshi memudham’ was the chosen kriti. Pattabhirama’s subtle brigas, impressive raga articulations and strong manodharma marked this rendering. He packed the niraval and swaras at the unusual ‘Madhumada modita hridaye sadaye.’ The initial swaras were symmetrical while the latter, undulating.
The thani by H.S. Sudhindra (mridangam) and B.S. Purushothaman (ganjira) was a fine demonstration of rhythmic intricacies. Sudhindra’s flair for rhythm and spontaneity must have earned him many rasikas. The pair lent their hand in enriching the kritis as well.
Papanasam Sivan’s ‘Kaana Vendamo’ was in a highly pensive Sriranjani. Pattabhirama readily obliged a rasika to render ‘Devibrova Samayamithe’ of Syama Sastri, a favourite of KVN. He brought out well the contemplative mood of the composition.
The concert ended with Swati Tirunal’s Behag Javali (Rupakam).