KOCHI: The communion of three entirely different thaymbaka schools presented an amazing rhythmic experience for the connoisseurs of thayambaka gathered at the Nadappura of the Chottanikkara Devi Temple the other day.
While the young and dynamic Poroor Unnikrishnan and Kalpathy Balakrishnan performed rare numbers on the chenda, Kalloor Ramankutty Marar, the seniormost of the three, presented a piece based on conventional chenda, with added stress on the nerkol (straight beat).
As usual the beginning was in Pathikalam where Kalloor introduced a novel rhythmic concept with the left palm on the brim of the chenda. Poroor recreated it in an entirely different school popularised by Mattannoor Sankarankutty Marar.
Keeping the basic rhythm, Kalpathy Balakrishnan created thrilling moments with his identical performance, with the same force on both hands.
When the slow-paced Pathikalam entered the intricate ascending and descending order of the myriad creative numbers, the listeners could distinctly identify the special features of three schools. During the ettichurukkal (ups and downs), Kalloor displayed matchless control over the instrument as he explored the minute tonal variations from the left palm beat.
By adding a little creative fragrance to the numbers played by Kalloor Ramankutty Marar, Poroor Unnikrishnan tried to expose the unique Mattannoor style rooted in the tonal beauty of the chenda. His prolonged association with Mattannoor helped him to experiment with the intricate numbers, by strictly keeping to the basic beats on the well-tuned chenda.
Kalpathy Balakrishnan, who had already won the hearts of thayambaka connoisseurs with the inimitable left hand expertise, explored little known creative numbers from his chenda in an effortless manner. By this time, the thayambaka took a ‘U turn’ with an elaboration of the Idakaalam, after the presentation of the Kooru, as the three talented artists presented a pulsating rhythmic symphony without deviating from the harmonious tonal similarity of their instruments.
Unlike the double thayambaka frequently presented by Kalloor along with Mattannoor, the maestro gave sufficient time gap and liberty for the two young artists. Both Poroor Unnikrishnan and Kalpathy Balakrishnan skilfully used the space aptly.
In the process, Porooor adopted a musical technique where the tone of the chenda decides everything. Kalpathy Balakrishnan presented crystal clear creative numbers in harmony with the inspiring tonal rapport provided by Kalloor Ramankutty. The unique harmony showcased by the three, made the entire programme a memorable experience.
After idakaalam, the trio presented the idavattom where they exchanged the novel ideas through a well-knit rhythmic repertoire. Here also the synchronisation of three different schools was so amazing that the connoisseurs could feel the best elements of the three distinct styles prevailing in thayambaka.
Then followed the much awaited climax of the show, Irikita. The Irikita is designed in such a way as to maintain a balanced exposition of the most attractive and distinctive numbers of their respective schools. Here also Kalloor paved the way to the climax and the other two followed with their own styles.
Suddenly the entire atmosphere switched to a frenzied mood as the percussionists readied for the concluding session in a very high frequency. That was the moment when both the performers and the listeners attained a mindset where nothing could be heard except the pulsating beats of the three chendas. One could see nothing but the flashing palms and sticks which brought out the elating tonal ensemble from the three firebrand percussionists.
Even after the completion of the thayambaka the thunderous waves prevailed in the Nadappura for a while.
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