Chennai-based musician Vishnu Dev Namboodiri demonstrated his inimitable artistry in a concert in Thrissur. The artiste delivered a bouquet of choice compositions with verve.
A disciple of Neyveli Santana Gopalan and PS Narayanan Swamy, Vishnu’s recital was steeped in tradition. His concert embraced compositions from the musical Trinity and by Swathi Thirunal and Jayadeva. Of the five compositions, the first four were devotional.
The opening number showcased Vishnu’s flair for melody and ability to deal with Navarasakannada, a complex raga. A janya raga of the 28th melam Harikamboji, Navarasakannada is a Swaranthara-Shadava raga with only four notes in the arohana and six in the avarohana, therefore an asymmetric one.
Moreover, Panchama is eschewed in the avarohana. By choosing the popular Swati kriti, ‘Vande Sada Padmanabham’, he won the hearts of the audience.
The alapana of Lalitha was neat and expansive. An elaboration of ‘Hiranmayim Lakshmeem sada bhajami’, Dikshitar’s composition in Roopakam, showcased his ability to traverse through the sthayis effortlessly.
‘Geetha vadya vinodinim’, taken for the niraval, had myriad manifestations followed by supplementary swaras. ‘Chaala kallaladu’, a Tyagaraja composition in Arabhi and Adi, was delivered in fast tempo. The musician appeared determined to exhibit his ability to weave swara patterns in this piece aesthetically.
Sankarabharanam had an exhaustive portrayal lasting for more than 20 minutes. The sancharas in the tara sthayi heightened the appeal of the rendition. The composition was again the much-sought after ‘Saroja dala netri’ of Syama Sastri. Edappally Ajithkumar made the tani melodious and proved his ability to support the vocalist throughout. Palakkad Maheshkumar’s mridangam is always noted for the resonant tone of his instrument and his ability to fill certain gaps was praiseworthy. Accompanied by Vellattanjur Sreejith on the ghatam and Kalamandalam Harikrishnan on the morsing, the avartana was protracted, without turning dull. The tonal effects provided by the morsing were especially noteworthy.
The last number, ‘Naada hare Jagannatha hare’, 12th Ashtapadi from Jayadeva’s Gitagovinda, was rendered in Madhuvanthi raga, known for its romantic charm. The concert was part of a felicitation to Palakkad Jayakrishnan.