Compositions of Annamyya are lyrically oriented and replete with emotion. An array of human emotions ranging from bhakti, sringara to vairagya find alluring expression in his padams.

Imbued with superlative charms of lyrical craft and musical appeal, their proper rendition captivates music lovers. It was no different with Parupalli Satyanarayana’s ‘Annamyya Gaanamrutam’ at Kalabharati in Visakhapatnam.

Hosted by Visakha Music Academy marking Annamayya Jayanthi celebrations, it was full of devotional appeal.

Flawless diction

An exponent of Annamyya compositions, who regularly coaches a host of students in sankeerthana gaanam at his Sri Sarada Annamayya Sangeeta Vidyalayam in the city, Parupalli’s diction was flawless and this phonetic accuracy endeared his rendition facilitating audience to clearly understand what was being sung.

It was, in a way, a straight rendition with no frills of improvisation or raga essays. It is rather hard to sustain the interest of the audience in a straight rendition session; however, his accent on the mood of the composition ensured the attention all through.

His selection of tunes set by musicians like MBK, Nedunuri, Balakrishna Prasad and Parupalli Ranganath helped unveil several shades that kept the session in good stead.

Though he chose compositions in diverse moods, he seemed to be at ease in capturing the bhakthi bhava and particularly excelled in exposition on that count.

String of padams

He began it with Ramapriya varnam of MBK and went on to present a string of padams.

The fare included Inthakante ghanamikaledu in raga Todi, Edutanunnadu veedu in Bhujangini, Ramachandruditadu in Dwijavanthi, Saranu saranu neeku in Amritavarshini and Nannu ninnu in raga Sahana etc.

R. Sankar on violin, Parupalli Balasubrahmanyam on mridangam, A.S. Koundinya on ghatam and P. Pandurangarao on tabla lent good support.

Source: The Hindu, DT. June 7, 2013.