Sikkil Gurucharan, performing a vocal concert at the 74th annual music and arts festival at Sri Sathguru Sangeetha Samajam in Madurai.

Sikkil Gurucharan, performing a vocal concert at the 74th annual music and arts festival at Sri Sathguru Sangeetha Samajam in Madurai.
| Photo Credit: G. MOORTHY

On the ninth day of the 74th annual music and arts festival at Sri Sathguru Sangeetha Samajam, Sikkil Gurucharan rendered an artistically matured vocal concert with percussion support from Trivandrum Sampath on the Violin, Kishore Ramesh on Mridangam and Sriram Ramesh on the Khanjira.

Gurucharan commenced with “ koodarai vellum seer” in Purvi Kalyani” (Andal’s Thirupavai pasuram of the day) which calmed the mind and brought pleasant feelings to the rasikas. 

His Varnam by GNB in katanakutoohalam for “kuvalayaksi kushalam kuru,“ on Goddess Bhavani, brought the poetic and musical structure and expressed the devotee’s heartfelt request for the goddess’s protection and grace.

Through his next rendition , “suryamurthi namostute sundara” in sowraashtram, (first and foremost navagraha krithi of Dikshitar), he paid respects to Dikshitar on his 250th birth anniversary. He showcased the kriti’s grandeur and intricate beauty.

With a brief alapana in Khamas, which the violinist mirrored well, he rendered Ambujam Krishna’s “ Piravi payan peralam”. It was impressive and appreciated by the rasikas. In quick succession, the vocalist Gurucharan praised the divine forms of the seven musical notes, which shine in the four Vedas, through “ shobhillu saptasvara “ by Thiagaraja injaganmohini.

The main raga of the evening Hanumatodi (known as rakti” raga, a raga of high melodic content), Gurucharan presented the complex phrases of notes and intonation effortlessly for “Papanasam Sivan’s “kunram kudi konda velava”.

His niraval kundram Thiruparankundram, showcased his awareness as to the latest facts and developments of Lord Murugan’s abode.

Violinist Sampath echoed and enriched the vocalist’s melody. The Tani avardanam showcased the skill, creativity and deep knowledge of rhythm (tala) of both Kishore Ramesh and Sriram Ramesh.

His final pieces include a Nottuswaram in shankarabharanam by Muthuswami Dikshitar, “kamalasana vandita” on Goddess Meenakshi and “Chandra chooda” a devotional song of Saint Purandara Dasa celebrating Lord Shiva. A unique conclusion with “Vande Matharam” received standing ovation.

Padmanabhan .S.


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