Vivek Moozhikkulam highlights the musical genius of Swati Tirunal

Vivek Moozhikkulam accompanied by Pappu Gyandev on the violin and Kishore Ramesh on the mridangam at the  Swathi Tirunal Day concert at  Music Academy on July 5, 2023.

Vivek Moozhikkulam accompanied by Pappu Gyandev on the violin and Kishore Ramesh on the mridangam on the Swathi Tirunal Day live performance at Music Academy on July 5, 2023.
| Picture Credit score: SRINATH M

Vivek Moozhikkulam, an up-and-coming vocalist, carried out an enticing recital, which featured an array of compositions by Swati Tirunal. The live performance occurred on the Swati Tirunal Day, an endowment programme, hosted by The Music Academy.

Swati Tirunal, is understood for his musical genius in addition to his multi-linguistic expertise. All his compositions invariably carry the distinctive lilt of the raga and his extraordinary penchant for poetry.

Open-throated rendition

‘Suma sayaka’, his well-known varnam in Kapi, which later turned a part of the ragamalika fold, was the opening piece. Vivek’s sturdy voice and open-throated articulation want particular point out. He confirmed his musical dexterity by choosing two ragas for exhaustive therapies, — Hamsanandhi and Suddha Saveri.

He elaborated Hamsanandhi, taking good care of each element. The raga essay proved an ideal prelude to the composer’s standard ‘Pahi jagatjanani’. Vivek’s swara train with a number of permutations and mixtures for the road ‘Saarasa kruta nilaye’ was fascinating.

Interesting Suddha Saveri

Vivek nect selected Suddha Saveri, and the kriti was ‘Janani pahi sada’. The alapana carried the raga’s complete vary and enchantment. The swarakalpana, adjunct to the charanam line ‘Shaila raja tanaye’, as soon as once more introduced forth the vocalist’s fondness for overzealous remedy. The younger artiste ought to result in some gentleness in his method, significantly to devotional compositions.

Pappu Gyanadev adopted the vocalist diligently to not miss any probability to showcase his capability in dealing with the raga essays and swara sallies with vigour however, with a contact of sobriety. So was the percussion accompaniment by Kishore Ramesh, who performed a short (attributable to time constraints) however vigorous tani.

Vivek’s repertoire additionally included ‘Shrikumara nagaralaye’ in Atana, ‘Parama purusham’ in Lalitha Panchamam and the closing, ‘Alarshara paritapam’ in Surutti.

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