G.K. Manamohan presenting a vocal concert, along with Keshav Mohankumar on violin, Sunaadha Krishna Amai on mridanga and Sharat Kaushik on ghata, at Sri Nadabrahma Sangeetha Sabha on June 20. 

G.K. Manamohan gave a vocal concert accompanied by Keshav Mohankumar on violin, Sunaadha Krishna Amai on mridanga and Sharat Kaushik on ghata. The concert was organised by Sri Nadabrahma Sangeetha Sabha on June 20, in memory of M.H. Rajarao. 

Having spent a decade in the United States pursuing higher studies and working, young Manamohan chose to return to Mysore, driven not by professional ambition but by an unwavering commitment to music. Deeply rooted in Indian culture despite his global exposure and hailing from a Hindu family of tradition and culture, he has immersed himself wholeheartedly in the pursuit of Karnatak Music, making it the central focus of his life. 

The concert was a fine testimony to his deep musical commitment and earnest scholarship. The recital commenced with a rare composition in Vakulabharana ‘Pari PAhi mAm’ by Mysore Vasudevacharya, rendered with clarity and devotional fervour. Sri Muthiah Bhagavatar’s ‘VAnchatonuna’ in Karnaranjani was handled with commendable classicism with varieties in chitteswaram presentation.  

After an appreciative rendition of the very popular ‘NArAyaNa ninna nAmada smaraNeya’ of Purandaradasaru in Shuddha Dhanyasi, Manamohan chose Nalinakanti for detailed delineation. The raga alapana of Nalinakanti, both by him and Keshav on violin, unfolded  gracefully, revealing its subtle beauty without resorting to excessive embellishment. ‘NatajanapAlini Nalinakanti’ by Tanjavur Shankara Iyer was the composition chosen and this and almost all the compositions were suffixed by kalpana swaras.  

The major segment of the concert was devoted to Shubhapantuvarali which was excellently treated both by the vocalist and the violinist.  

The elaborate alapana traversed the raga’s poignant and meditative landscape with maturity beyond the musicians’ years. ‘ParipAhi mAm’ by Mysore Vasudevacharya could have been presented in a more leisurely manner. And it being a Sabha concert and a full-fledged concert, a vilamba kriti and at least one neraval for any composition would also be welcome.  

Manamohan displayed excellent creativity in kalpana swaras with also trishra in two speeds, culminating in a satisfying crescendo and Keshav’s replies were equally brilliant.  

Sunaadha from Mangaluru on mridanga and Sharat on ghata provided sensitive support, enhancing the overall musical experience without overshadowing the main performer. 

The post-tani part included a devaranama on Lord Narayana in Vasanti and the all-time popular English Note of Madurai Mani Iyer fame. The familiar swara passages, ‘GMG RGP RGS’ were delivered with verve and precision. 

The young vocalist’s music reflected the rare combination of intellectual refinement, cultural rootedness and complete devotion to the Karnatak tradition. While his technical command and enthusiasm were evident throughout the concert, the overall pace of presentation tended to be rather brisk, which left little room for the audience to savour the lyrical content and emotional nuances embedded in the sahitya. The influence of contemporary vocalist Abhishek Raghuram was discernible in his singing.  

Given the musician’s evident manodharma capabilities, the inclusion of neraval would have offered greater scope for melodic and rhythmic exploration. These observations not withstanding, the recital revealed a musician of considerable promise, marked by commitment, diligent training and an unmistakable passion for the Karnatak tradition. 

—Dr. Padmavathi Narasimhan