Sri Tyagaraja Sangeetha Sabha had arranged a grand vocal recital by Vidwan Pattabhirama Pandit on the 26th of November 2022 at Veene Seshanna Bhavan. He was accompanied by Vidushi Sindhu Suchetan on violin, Vidwan G.S. Ramanujam on mridanga and Vidwan Sharath Kaushik on ghata respectively.

It was indeed a grand recital as the main artiste, along with his accompanists, created a serene ambience with their divine music performance.

Pattabhirama Pandit has been groomed by stalwarts like Dr. S. Ramanathan and Sangeetha Kalanidhi K.V. Narayanaswamy. Following perfectly his Guru’s path, Pandit is an outstanding classical vocalist today. His rich voice and sincere rendering touches the listener’s heart. His innovative approach in creative music (manodharma Sangeetha) makes his singing an experience that lasts long. The rendering of compositions are vigorous and power packed. No acrobats, just pure and peaceful music.

With a short and powerful prelude, he started off with ‘Viriboni’, the atta tala Varna in the raga Bhairavi. Opening itself was in good speed.

The second half was still faster with stunning clarity in gamakas. The majestic ‘Sri Bhargavi Bhadram’ by Muthuswami Dikshitar in the rare raga Mangala Kaushiki, was followed by a matured alapana of Gowrimanohari. It was marked by his precise knowledge of the raga and its melody. Sindhu too was equally good in her bowing.

This year being the centenary year of KVN, ‘Gurulekaituvanti’ (Tyagaraja-Khanda chapu) was the right selection to salute his Guru. The Kalpana swaras by both the artistes was vibrant and colourful. Though the main raga of the day was Kambodhi, Shubhapanthuvarali was no less than that. A profound delineation of the raga was absorbing.

Every phrase in Shubhapanthuvarali was filled with ragabhava. The unhurried approach enabled to bring out the essence of the raga. ‘Shree Sathyanarayana’ by Muthuswami Dikshitar was the right choice. The sumptuous Kruthi required no frills of Kalpana swaras.

It was Kambodhi that yet again affirmed Pandit’s commitment to music. There was not a single sangathi that was futile. They were actually dipped in sheer classicism. A brilliant elaboration by both the artistes.

Tyagaraja’s ‘Evarymaata’ brimmed with many improvised sangathis. A neraval at “Bhakthaparaadinudanuchu Paramabhagavatula” lead to a very intricate Kalpana swarajugalbandi between Pandit and Sindhu.

G.S. Ramanujam’s matured playing displayed his vast experience in music. His percussive support all through the concert was exemplary. Young Sharath Kaushik also gave good support on ghata. There was a short Raga-Taana-Pallavi  composed by his disciple on  the theme of ‘Guru’. This Pallavi, set to Adi tala, had Atheetaedupu. ‘Paraguruvaram Shubhakarapradam Paratarapradam Tavacharana Bhajeham Sujnanapradayakam’ in Dharmavathi was crisp and had Behag, Sindhubhairavi and Hamsanandi in swarakalpana. ‘Kandudhanyanade Udupi Krishnana’(Behag), the melodious Devaranama brought the curtains down. Thanks to Sri Tyagaraja Sangeetha Sabha for arranging such a wonderful music concert.

—Dr. Rama V. Bennur