Devagitam Charitable Trust celebrated its 7th anniversary with a grand music concert by Vid. T.S. Pattabhirama Pandit. He sang for a packed audience at Veene Seshanna Bhavana on the 29th of September, 2018. His singing is notable for the earnestness and vigorous quality of his performance. The influence of his mentor Vid. K.V. Narayanaswamy is apparent on his style of singing. It also gives a touch of vintage quality. This aspect was displayed in a fair measure in his recital. His confident rendering with brisk treatment of the kalpana swaras surely weaves a spell over the audience. The accompanists, Vid. T.K.V. Ramanujacharyaulu (violin) and Vid. K.U. Jayachandra Rao (mridanga) contributed immensely for the success of the concert.

The significant feature of Pattabhirama Pandit’s recital is his involvement. He immerses in the ocean of swaras that is rendered and caresses them with utter emotional involvement. He plunges in to their depth and shares the ecstasy with the listeners, thus transporting them to a different world.

The opening number was a composition by Vid. H. Yoganarasimham, as ‘Devagitam’ was formed in his memory. It was in a rare raga Lathanthapriya or Karnataka shuddha saveri.  His treatment of this raga invested the song with a characteristic tenderness and pathos. With his all-pervading deep persuasive tone, Pattabhirama Pandit delineated the raga in leisurely drawn out phrases. ‘Marachite O maaramana’ was a real musical treat. After Tyagaraja’s ‘Maakelara vicharamu?’ (Ravichandrike), he took to Anandabhairavi in his well-modulated voice. The delightful effects of the free improvisation of  every note in the alapana were enjoyable.Equally good was Ramanujacharyulu’s violin. Muthuswami Dikshitar’s ‘Tyagaraja yoga vaibhavam’ with perfect delineation of the sections of the song was impressive.

The highlight of the day was raga Simhendramadhyama. It had many innovative phrases with an insight in to the raga. Both the singer and the violinist unfolded  the raga reposefully with majestic movements. Annamacharya’s composition ‘Aadima purushudu,’ that was tuned by Ramanujacharyulu was melodious. A cascade of sarva laghu swaras followed after a neraval. Abundant measures in the following raga Mohana, where his flights into the upper register displayed the crystal purity of the notes and their blending effectively presented the poignancy of the raga. Tyagaraja’s composition ‘Mohana Rama’ lead to a few Devaranamas like ‘Innu daya baarade’, ‘Jagadoddhaarana’ and ‘Baaro Krishnayya.’ Intricate sallies of rhythms in the Thani avarthana by Jayachandra Rao was interesting.

By Dr. Rama V. Bennur