hymns were those of Thirugnanasambandhar. 'Iyal Isai Enum Porul' in
Kedaragowlai (Pann -Gandhara Panchamam) made the beginning and the line,
'Thavaneriye Yeidhuvar" was stressed towards the end. Didamali came next and
had an absorbing alapana in Pantuvarali (Pann - Saadharippann) with some
lucid phrases placed perfectly and in fine sequence.
'Dhanam Varum' took the virutham form in Sankarabaranam (Pann -
Pazhampanjuram) preceding the hymn 'Payumalvidai' (same Pann, in misra
chapu). The emphasis here was on the words, 'Aivar Seyyum Vinayangal' (the
role five senses play in shaping our lives).
The next, 'Oonaagi Uyiraagi,' was Thirunavukkarasar's poetry in
Harikhambodhi (Pann-Kurinjippan) that led to 'Sempon Maeni' of Sundarar sung
in Khambodhi (Pann-Thakkesi). Manickavaachagar's 'Thiruvachagam' 'Umbarkatku
Arase,' was in Mohanam. The word 'vambu,' used here, originally meant
something new, not pointless gossip. Mohanam, it was learnt, does not have
an identical Pann in the Tamil-Isai rubric and this lyric was sung adhering
to the tune that is in vogue.
Pann marabu (tradition) recognises and accommodates only two prathi madhyama
ragas in its scale. The existing panns associated with each of these
compositions are followed as matter of principle. 'Engum Thirumeni'
(Thirumoolar's 'Thirumandhiram') in Sindhubhairavi sung before 'Sinathhavar
Mudikkum' ('Tiruppugazh') gave a sense of completeness to this ineffable
communion. Swaminathan, a senior Oduvar in this hierarchy, has a voice that
sets as it begins. The cadences for the 'kuril' and 'nedil' and impeccable
diction were the hallmarks of his rendering.
These hymns in the words of eminent music scholar, T. S. Vasudevan, "are
models of pure and elevated diction, general, earnest and touching, but
always melodious and enchanting." The devotional plane seen in Swaminathan's
singing was a testament to the observation.
Swaminathan was accompanied by Pannappattu Venkatesan (violin),
Tiruvannamalai Sivakumar (mridangam), Sundar (ganjira) and Buvanagiri
Kirupanidhi (morsing). The violinist made tactical use of the opportunities
given and presented the raga alapanas for Sankarabharanam and Khambodhi with
clear enunciations. The laya combine accompanied intelligently and also gave
a short thani.
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