On the auspicious evening of Sarasvatī pūja, four very eminent artistes walked up the stage in the serene atmosphere of Sringeri Bharathi Vidyashram, T. Nagar. The grand stairway leading to the quiet and majestic hall, the playful children running around and the tranquility of the shrine, all made the experience truly memorable. The stage was adorned by Saṅgīta Kalānidhi-s, Śrī. Lālguḍi Krishnan and Smt. Lālguḍi Vijayalakshmi and their co-artistes, Śrī. Guru Rāghavēndra on the mṛdaṅga and Śrī. Krishna S on the ghaṭam. 

The concert commenced with a soulful Kalyāṇī varṇa composed by their very own guru, Śrī Lālguḍi Jayaraman and was played with such devotion. The next piece was Śrī Sarasvatī in the rāga, Ārabhi and the audiences were all warmed up with the quick exchanges of kalpanasvara-s. After that, Krishnan sir played a short ālāpana which caused a buzz amongst the audiences who were trying hard to find the rāga. Finishing the rāga, he smiled and announced that they would play Amba Paradēvatē, a composition in the rāga Rudrapriyā. The co-artistes swiftly picked up and the energy went up while they skilfully wove svara-s with beautiful poru̱ttam-s. It was very interesting when they played around and created so many patterns with the ārōhaṇa and avarōhaṇa itself. As a stark contrast, came in the next piece in Bhavāni rāga, a rare composition of Daṇḍapāni Dēsikar preluded by a very intense ālāpana by Krishnan sir. The audience sat in rapt attention without even a blink and the explorations continued without touching the ṣaḍja. This is a very emotive rāga, filled with pathos. When he played the Sa, a collective relief was felt by the audience who instantly clapped. This gradually led into the song, and in the anupallavi, there was a slight change of mood from being extremely intense to slightly playful, which was caused due to the tisra naḍai played on the mṛdaṅga and the saṅgati-s on the upper octave. This made me realise that a rāga need not necessarily convey only a single emotion, rather it offers a wide gamut, it is only by the perception of the artiste that it lends itself to a certain feeling. As I looked around, I saw the wide range of people who were enjoying this music, from small bubbly children on the lap of their parents to very old people who found it hard to even walk, these artistes truly had everyone spellbound. 

Moving on, the next was a slow and enriching ālāpana of the majestic Dēvagāndhāri played by Viji mam. This ālāpana was slow and explorative where her expertise and mastery over the instrument was displayed in her effortless playing. Śāradē Vīṇā, a favourite composition to many, was played and so many people sang along. Then, Sārasa dala nayanē by Harikēśanallūr Muthaiyya Bhāgavatar in rāga Sāramati was played. The next piece was definitely my favourite! The Nāsikābhūṣaṇī ālāpana was so flavourful, and the excitement built up with each phrase. The way Krishnan sir shaped the ālāpana was nothing short of masterful, playing with the vādi-samvādi interplay between R and D, creating vibrant phrases that left the audience in awe. The kṛti, Māravairi Ramani, followed, delivered with precision and joy. It was a brisk piece, the svara-s crisp and sparkling, highlighting both the technicality of the rāga and the aesthetic beauty of the composition. The interplay between the violin and percussion was fascinating, as each musician complemented the other, lifting the energy of the performance.

Next came Madhyamāvati, where the rapport between Krishnan sir and Viji mam became even more evident. They exchanged phrases, enriching the rāga with each other's saṅgati-s, building upon one another’s musical ideas. The nyāsa at Ri was particularly striking, with Krishnan sir exploring unique combinations like ṇsrsr, which made the rendition even more refreshing. Viji mam’s bow was flying across the strings in such an effortless yet powerful manner, it almost felt as if one could imagine only a single musician performing instead of two. Their synchronisation was breathtaking, and the shared spontaneity added a unique flavour to the performance. The finishing touch was when they ended together with such grace and ease.

Then came Pāliñcu Kāmākṣi in Madhyamāvati, which was filled with sukha bhāva. The mṛdaṅga and ghaṭam played a vital role here, keeping the mood serene yet robust, with intricate rhythmic patterns that mirrored the flow of the composition. The svaraprastāra was exuberant, with 5s and 7s intricately woven into the structure. The kuṟaippu̱ at ṛṣabha which contained some explorations in caturaśra tisra was particularly thrilling, leading to a complex and grand kōrvai, which left the audience speechless.

As if that wasn’t enough, the Tani Āvartana was a powerful display of rhythm and energy. The audience was visibly on the edge of their seats as the mṛdaṅga and ghaṭam players engaged in a battle of rhythm, echoing each other's patterns, and finishing with a thundering crescendo. The reverberations filled the hall, and the applause that followed was well-deserved.

The final segment of the concert began with Śrīnivāsa Tiruvēṅkaṭa in Hamsānandi, which evoked a spiritual ambiance. Krishnan sir’s violin soared through the octaves, almost recreating the divine climb to the temple of Tirupati. The piece was imbued with a spiritual depth that touched everyone in the room. Following this, the playful and lilting Nānoru̱ Viḷaiyāṭṭu̱ brought a lighter, joyous mood to the atmosphere, ending on a high note.

Finally, the concert concluded with a fiery Sindubhairavī Tillānā, played at a rocket speed that left the audience breathless. The intricate rhythmic patterns and fast-paced exchanges between the artistes brought the house down, and the evening concluded with thunderous applause. The concert was a perfect blend of technical brilliance, emotive depth, and musicality, making Sarasvatī Pūja 2024 at Sringeri Bharathi Vidyashram a night to remember.