The nagaswaram, an iconic double-reed aerophone from South India, holds a distinguished place within the region’s musical heritage. Revered as a ‘mangala vadyam’ – an instrument whose presence is indispensable at sacred temple rites and all auspicious observances – its profound cultural significance was the very essence celebrated by the third annual Nadotsavam festival. This three-day event, hosted at The Music Academy, meticulously curated six concerts, offering deep immersion into the symbiotic partnership of the nagaswaram and thavil.
Kicking off the festival was an enthralling performance by the artist-couple Tirupananthal Viswanathan and Vijayalakshmi. They were impeccably supported by the thavil maestros Achalpuram A.V. Selvam and Tiruvenkadu T.M. Guhan. This quartet of seasoned musicians brought forth a collective depth of rigorous training and an innate understanding of the intricate demands of this classical tradition.
The evening commenced with Tyagaraja’s ‘Sri ganapatini sevimpara’ in Sowrashtram, a perfectly chosen invocation that the nagaswaram delivered with its signature resonant timbre. The thavil accompaniment throughout this piece stood out for its meticulously structured division of labor: Selvam anchored the pallavi, Guhan seamlessly took over for the anupallavi, and Selvam returned for the charanam. This artful arrangement fostered a vibrant, almost conversational rhythmic exchange between the two percussionists. Their distinctive approaches further enriched the performance; Selvam’s playing resonated with a powerful tonal fullness and profound *nadham* that enveloped the auditorium, while Guhan’s skilled manipulation of the *thoppi* offered a textural subtlety, providing a delicate yet crucial balance to the entire ensemble.
An evocative *alapana* in Nasikabhushani paved the way for ‘Mara vairi,’ which was quickly followed by Tyagaraja’s spirited ‘Nati mata marachitivo’ in Devakriya. This particular *kriti* is renowned for demanding not only rapid execution but also unwavering rhythmic precision. Guhan’s accompaniment here was notably steadfast, maintaining impeccable *kala pramanam* from start to finish. The concert gained significant emotional depth as Viswanathan embarked on an unhurried, *nadham*-rich Pantuvarali *alapana*, captivating the audience with every nuanced phrase. The subsequent *alapana* for Muthu Thandavar’s ‘Eesane koti surya’ perfectly encapsulated the *raga’s* intrinsic essence. The duo rendered the *kriti* with skillful interplay across vocal registers, with Vijayalakshmi handling the lower pitches and Viswanathan soaring on the higher ones. This was succeeded by Thanjavur Sankara Iyer’s ‘Natajana palini’ in Nalinakanti, whose *alapana* presented a thoughtful counterpoint to the earlier Pantuvarali, possessing a lighter spirit and flowing with a graceful spontaneity.
The focal point of the evening was undoubtedly ‘Appan avatharitha’ in Karaharapriya. Viswanathan’s *alapana* was delivered with consummate assurance, and his *kalpanaswaras* exhibited exquisite craftsmanship. A momentary, subtle lapse in *swarastanam* by Vijayalakshmi was seamlessly and unobtrusively corrected by Viswanathan, a testament to their collaborative synergy. The *thani* that followed commenced with a dynamic five-avartanam interplay, where Selvam’s *tisra nadai* shone with remarkable *sollu* clarity. Guhan’s mastery was evident in his brilliant *thoppi* double strokes, sophisticated *gumki* technique, and precise rim shots. The *kuraippu* skillfully narrowed down to a single beat before an impeccably executed, albeit self-contained, 84-beat *mohira korvai* brought the *thani* to a resounding conclusion, met with enthusiastic applause from the audience.
The concert gracefully concluded with a trio of thoughtfully selected devotional pieces: Manikkavachagar’s ‘Ammaye appa’ in Mohanam, Thirugnanasambandar’s ‘Manthiramavathu’ in Navroj, and Arunagirinathar’s Tiruppugazh verse in Husseni. These final selections encapsulated a profound blend of spiritual devotion and rich musical artistry, leaving the audience with a lasting impression of bhakti and melodic excellence.
