'Aradhana' at Cleveland
By Srikrishna Sarma B

As always, it was a novel experience at Cleveland during the Tyagaraja festival. I have been attending this festival for several years now. I have a feeling that the Economics’ Law of diminishing utility applies to music festivals as well. I am saying this from the angle of audience participation and even from the angle of the participation of eminent musicians. The interest shown in the initial years by the organizers in providing classical fare to the audience is fast disappearing. Like any Sabha in Chennai, a lot of nepotism, favouritism and the urge to satisfy certain groups have unfortunately surfaced here as well. Reason and logic seem to have taken leave. The Chief guest-designate A Natarajan did not attend, for reasons best known to him!!

Vishaka Hari was a prominent new comer this year, her fame having travelled ahead of her. And she did not forget to mention Sri Anna (This is how she refers to her revered father in law Sri Krishnapremi swami) in between every two sentences. Sudha, Dr Ramani, Aruna were there with their usual menu. There was thinner audience in ticketed concerts, the snow and rain having made their contribution. I have a feeling that the organizers have run out of sponsors and funds as well. The University itself had given them a smaller auditorium. There were the same arrangements for the regulars in the Comfort Inn across the road. South Indian Lunch and dinner were provided, though one wished the ladies at the lunch/dinner management could have been a bit more courteous. Among this organised disorder, the one concert that was out of the ordinary was by Kalaimamani H.Ramakrishnan, who was given the afternoon (1 pm) slot on a working day (Thursday, the 12th). I wish he had been given a better time slot. This view was shared by Shri Chengalpattu Ranganathan, the doyen of Carnatic music, who sat through the concert. Ramakrishnan presented many composers including Saint Tyagaraja, Muthuswami Dikshitar, Oothukadu Venkata Kavi, Narayana Theerthar and Sharabha Shasthri.

He began his concert with a rare composition of Kodunnirapalli Sri Krishna Shastri on lord Shiva who according to the composer, takes the form of Lord Krishna in Guruvayoor. The Shakarabharam master piece of Dikshitar ”Sri Dakshinamurthey” reminded the two hundred plus audience, of Semmangudi. The Bhairavi piece “Govinda Ghataya” was neatly rendered. Then followed three pieces of Saint Tyagaraja, in Panthuvarali (Parama Paavana Guna Shaali), Reetigowlai (Baale, in praise of the Goddess at Thiruvaiyaru) and the irresistible Kambhoji (Sri Raghuvara with Swara Sahitya).

A soft rendering of melodious Chenchurutti (Mudhu Krishna) of Oothukadu followed.. Sharabha Shastri’s Raagamaalika in Aanadhabhairavi, Neelambari and Yadhukula Kambhoji “Paarvathi Maam” was a rarely heard, yet a familiar sounding Keerthana. He concluded his recital with the fourteen raga Chaturdasa Bhuvana Roopa Raga Maalika “Sri Vishwanatham Bhajeham” of Dikshitar, a piece which normally musicians don’t dare to handle. And, Ramakrishnan gave a brief description of every song that he rendered, especially for the Westerners who had turned up in good number for the concert.

This was one concert that took us to the Golden period of MDR, Semmangudi and DKJ. The concert was aptly dedicated to the one and only Subbudu who incidentally has accompanied Ramakrishnan on many of his concerts, Namasankeerthanam programs and for a Sangeetha album produced by the Master Recording Company.

Ramakrishnan’s daughter, Priyadarsini Ramakrishnan gave more than adequate vocal support. Divya Ramachandran, a research scholar at Berkeley University provided excellent violin support to the concert, while Delhi R Srinivasan, an Airlines Executive, was seen experimenting with his borrowed drum.

<<Dr. Srikrishna Sarma B, musicologist can be contacted at srikrishnasarmab@yahoo.com >>