A great Carnatic rendition

The vocal recital by B Vaidyanathan was chaste, classical and devotional

B Vaidyanathan is a seasoned classical musician who not only enjoys music but cherishes it, too. On Sunday, he gave an energetic performance of devotional music organised by Nada Bharathi at Swathi Hall, Sivam Road. It was pleasing, emotive and par excellence with Vaidyanathan throwing the flavour of classism in to his orthodox style.

Vaidyanathan Balasubramanian comes from a family of renowned musicians and strongly believes in being part of the ‘Sishya Parampara’ of music stalwarts. He is the son and disciple of late V Balasubramanian Bhagavather, a well known music scholar of south India, and his lineage is from the gurukula–vaasa system of the late MA Kalyana Krishna Bhagvather in Kerala. Vaidyanathan took training from his father and later came in to the tutelage of late Puranam Purushottama Sastri, who was a staunch supporter and disciple of Musiri Subramanya Ayyar. B Vaidyanathan started a school called Sangeetha Vaijayanthi in 2009 to promote music in the twin cities.

Vaidyanathan is a musician steeped in tradition yet highly creative and innovative. His music is infused with bhakthi and bhava, which makes his music endearing and entertaining. Vaidyanathan is recognised for his rich manodharma, patantharam and kalapramana sudham. He takes keen interest in inculcating voice culture training and various aspects of sampradaya sangeetham.

Vaidyanathan started his concert with “Ninne Nammithi” (Kanada varnam) and then moved on to Deekshitar’s invocation item on Ganapathi “Sri Mahaganapathi Ravathu Mam” (Goula) rendered with all the manifestations of Lord Vinayaka. He took up Thyagaraja kriti in Hari Kambhoji raga “Entharani Thanakenthaponi” with a good ragaalapana, and thus showered charana soundaryam in ample measure. Being an ardent devotee of Lord Rama, Vaidyanathan took up the vaggeyakara of the 17th century Bhaktha Ramadasu’s famous kriti in Pantuvarali raga, and gave a soulful ragaalapana. The selection of krithis and ragas chosen depicts the musician’s wisdom. Then he moved on to Thyagaraja’s krithis “Maru Balka Kunnavemira Maa Manoramana!” (Sri Ranjani) and a rare keerthana - “Samayamu Eamarekey Manasaa!” (Kalagada) as straight renditions with little ragaalapana. This is the quintessence of any musician to keep the audience into his fold and to make them to have the feel good atmosphere of Carnatic music of the Trinity.

He then took on Ananda Bhairavi of Syama Sastry krithi, “Oh Jagadamba Neevu Javamuna Brovu”. Every phrase was delivered beautifully and the bhakthi, as would have been experienced by Syama Sastry, who penned the lyrics, could be felt. As the main item Vaidyanathan chose “Bhajarey Rey Chitta Balambikam” (Kalyani) of Murthuswamy Deekshitar. His enriched ragaalapana and pulsating swarakalpana left the audience spell bound.

Violin vidwan Komanduri Anantha Souri Rajan’s performance was an added attraction. His bow technique was a congenial follow up. Paravasthu Srinivasa Gopalan on mridangam gave a good account of Taniavarthanam. It was the gentle play of mridangam that kept the laya intact. Vaidyanathan showed his expertise in rendering the phrase “Sakthi Beejotpala Mathrukarna Sareerinam” in different scales. He concluded the vocal recital with Uthukkada Venkata Subbaiah’s work in Neelambari raga with all the raga flavour and with a devotional appeal.

In a way one can infer that Vaidyanathan gave his audience the medicine of music through his performance. Noted vidwans of the city Rangavajjhula Venkata Pandurganra Sarma, noted mridanaga vidwan TVV Ayyar and world famous musician Eelapata Siva Prasad, were at the concert and appreciated Vaidyanathan’s recital.