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R Suryaprakash @ S Nageswaran’s House, 25th Sept 2016

Vocal : R Suryaprakash

Violin : Vittalarangan

Mrudangam : T R Sundaresan

List:

01. rUpamu jUci (pada varNam) – thODi – Dikshitar ( O )

02. vAgIshvari vANi sarasvati – sarasvati – Muthaiah Bhagavathar ( O,N, S)

neraval & swara @ ‘ nIvE jIvashakti nIvE jnAnabhukti nIvE jagatsAkSi nIraja daLAkSi’

03. innALLu dayarAkunna – nArAyaNagauLa – Thyagaraja (A )

04. bhuvanEshvariyA – mOhanakalyANi – Muthaiah Bhagavathar ( O,S )

05. kA vA vA – varALi – Papanasam Sivan

06. shrI laLitE kAnci nagara nivAsini – bhairavi – Annasamy Shasthri (A,N,S,T )

neraval & Swara @ ‘nIlAbja dala lOcanE sadAshrita dAsa jana rakSanE’

07. RTP – hamsAnandi,hamsadhvani,hamsanAdam,hamsavinOdini – mishra chApu

pallavi line ‘ Anandini mAm pAhi, sakala dhvani svarUpiNi, sunAda niranjani, vINAvinOdini, sadAvAhini, hamsa-‘

rAgamAlika tAnam and swaras in hamsAnandi,hamsadhvani,hamsanAdam, hamsavinOdini

tani Avartanam

08. viruttam ( uLLam arindudan??) – behAg,AbhEri

kandan karuNai puriyum vaDivEl – AbhEri/bhImplAs – Guhan

09. kangaLidyAtakO kAvEri rangana – sindhubhairavi – Narahari Dasa

10 mangaLAm – saurAshtram – Thyagaraja

vAzhiya sentamizh – madhyamAvati- Bharatiyar

Special occasion, special place and selected audience whose musical IQ is probably the best one can think of ( few exceptions like me) in Bangalore. The ambience is the most suited for an artist to exhibit his skill, knowledge and imagination. Sri Suryaprakash and the team did exactly that. Fabulous concert. Everything that one can ask for was packaged so brilliantly in three and half hours. The initial plan, I remember, was to have the conert from 5:00 to 7:30, but the whole atmosphere was so musically charged and the concert went on until almost 8:30. The accompaniment rose to the occasion adding to the awesomeness.

Vid Suryaprakash planned the concert to perfection. Every piece was carefully chosen, presented to perfection as it called for. Rarely heard rUpamu Juci presented as padavarnam to start was the indication of the rest of the evening.  Fabulous neraval for another rare gem in saraswati. I think the words align so perfectly well for classical neraval. Very good rounds of swaras to add to the effect.

First detailed alapana in nArAyaNagauLa was very impressive. Few shades of ‘kaddle vAdu’ to give the nArAyaNagauLa indication to me. Vittalarangan played in similar lines of the main artist. Suryaprakash chose to sing innALLu dayarAkunna, instead. Well done ! A short filler on mOhanakalyani came in. Not a great fan of this ( except for the Mysore Vasudevachar’s composition on Narasimha), but he sang some great swaras at the end. Almost similar was the next kA vA vA, with a few quick rounds of swaras.

Bhairavi main alapana was top class. Shear delight to listen to him as he sang some delectable phrases. Some good takes at the upper octaves, to some instant applause, some streaky slides, some long phrases in middle and higher octaves. Very well constructed and progressed. Vittalarangan played equally brilliant here, reproducing some of the nuances of the main artist in his reply. Again another surprise choice of kriti. Annasamy Shashtry’s kriti on goddess of Kanchi, seldom heard in concerts. Another fabulous neraval, even better than the sarasvati one. Much detailed, one of the high points of the evening. A two speed swaras with some intrinsic laya exercise at the low speed.  Sundaresan played a short tani avartanam.

A pallavi was brewing in the air. He chose to present a chatur-raga pallavi, one can call it as a ‘hamsa-mala’pallavi, in hamsAnandi, hamsadhvani, hamsAnadam, hamsavinOdini. Hamsanandi and hamsadhvani alapana were fairly detailed, and the other two to a lesser extend. Tanam was long in all 4 ragas, with some nice drift from one to the other.  Nicely constructed pallavi line, sang appropriately broken to indicate the raga name.  Hamsanandini mAm pAhi, hamsadhvani svarUpiNi, hamsanAda niranjani, hamsavinOdini sadAvAhini etc. He sang a very complicated trikalam for his switching speed and raga with such control and fluidity. There was no moments of ‘loss of control’ of ambiguity through out. Sundaresan, played with nimble fingers and stern face:) through out the evening played another tani avartanam post pallavi.

The concert concluded with a viruttam followed by a Guhan kriti, and a devarnama in sindhu bhairavi. Congratulations to the artist and the host for conducting a wonderful concert.

 
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Posted by on September 26, 2016 in Uncategorized

 

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Aishwarya Vidya Raghunath, MS Centenary Concert, Nadasurabhi 18th Sep 2015

Vocal : Aishwarya Vidya Raghunath

Violin : Nalina Mohan

Mrudangam : Anoor Ananthakrishna Sharma

Ghatam : S N Narayana Murthy

List :

01. viribOni (varNam) – bhairavi – Pachimiriyam Adiappa

02.  tera tIyaga rAdA – gauLipant – Thyagaraja ( A,S )

03.  vaNDADum shOlaitanilE – harikAmbOji – Kalki Krishnamurthy ( A,N,S )

neraval & swara @ mAdavan matHurai maindan maRaigaL paravum mAyan avanO

04.  dEvi brOva samayamidE – chintAmaNi – Shyama Shasthri ( A,S )

05.  bhOgindra shAyinam – kuntaLavarALi – Swathi Thirunal

06.  RTP – bhairavi –  khaNDa tripuTa , 1/2 eDuppu

pallavi line ‘ lakSmIm shubhasangItapriyAm smarAmi, shubhapradAm, shubha-‘

rAgamAlika tAnam and swaras in Anandabhairavi,naTabhairavi & sALagabhairavi

07. bhAvayAmi raghurAmam – rAgamAlika – Swathi Thirunal

08.  jagadhOdhAraNa – kApi – Purandara Dasa

09. maithrIm bhajata – rAgamAlika – Chandrashekhara Saraswathi

On the occasion of the 100th birth anniversary of the legend, Nadasurabhi appropriately named this months concert as a tribute to the everlasting voice and the universal face of carnatic music. Aishwarya Vidya Raghunath, whose childhood photo on the lap of the the musical icon is going round in the social media, lived up to the theme with a clever selection and specially constructed pallavi for the occasion.

The concert itself had its ups and downs. The good things first. She sang an outstanding harikamboji. Wonderful , very well conceived and presented alapana. A rare kriti, from the MSS staple , brilliant neraval at the last line of the charanam – the full line to my pleasure- and a befitting kalpana swaras. To me that harikamboji is the highlight of the concert, barring a short slip towards the end of the swaras.

Secondly, the gauipant too was of superbly done. A very short and crisp alapana. Fabulous rounds of swaras. One seldom see artist taking up gaulipant and try to do some justice to the raga. That rounds of swaras, were top class.

Her post main was again pretty good. Submitting to a listeners request to sing bhavayami ( I guess he was by then was submerged in the spirit of the theme) she did a commendable job. So was the request for maithreem bhajata.

She sang the bhairavi varnam at the beginning and as in the old times, decided to sing a specially composed pallavi in the same raga (it was a bhairavi-chintAmaNi-bhairavi affair, though). Pallavi line isn’t great, but she did try something for the occasion which is admirable. Long bhairavi alapana was decent, nothing spectacular to talk about. Tanam was better, but the attempt with bhairavi-mala tanam was not appealing at all, was it the speed that was spoiling the fun for me, not sure. She did trikalam, but again the execution wasn’t smooth and flawless. No impact with the kalpanaswaras too. I cant pin-point the trouble areas. It could be the issues with holding breath, as she had many breaks of sequences, or the tempo which was a notch high through out the concert, or the pitch itself. Pallavi was a bit of letdown.

Anoor Ananthakrishna Sharma was very pleasing. Some of his left side play was awesome. He was rock solid, even when the other two artists were slipping at times. He and Narayana Murthy played a beautiful tani avartanam.

I would rather cherish those gaulipant and harikamboji moments from this concert. They were worth the time and effort.

 
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Posted by on September 19, 2016 in Uncategorized

 

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TNS Krishna @ Ranjani Fine Arts, 10 Sep2016

Vocal : TNS Krishna

Violin : Nishant Chandran

Mrudangam : K P Parameswaran

List :

01 girirAja sutA tanaya – bangALA – Thyagaraja ( O,S )

02 muNDu vENuka – darbAr – Thyagaraja ( O )

03 shiva shiva shiva enarAdA – pantuvarALi – Thyagaraja ( A,N,S )

neraval & Swara @ ‘Agamamula nutiyinci bahu bagulEni bhAsalu cAlinci’

04 shLOkam ( apadamapa hataram tadaram) – khamAs

sujana jIvana – khamAs – Thyagaraja

05 marukElarA – jayantashrI – Thyagaraja ( A,S )

06 sAvEri rAgAlApana

shLOkam ( ambA sAmbhavi chandramauli ) – sAvEri

kanna talli nIvu – sAvEri – Thyagaraja ( A,N,S,T )

neraval & swara @ ‘anudinamonarincu satkriyAla nIkani palkina tyAgarAja rakSaki’

ragamalika swaras in nAta, Arabhi,varALi,bahudhAri,hamsadhwani,rEvti,bilahari, kuntaLavarALi, kadanakutUhalam, dEsh, bEgaDa, ____, nIlAmbari,______, malayamArutam, ranjani,_____, pUrvikalyANi, shrI, sAvEri

07 durmArgacharA – ranjani – Thyagaraja ( O )

08 ennagA manasuku rAni – nIlAmbari – Thyagaraja

09 viruttam (nanmayum selvamum) – hamsAnandi

shObhanE (started at anupallavi) – hamsAnandi – Thyagaraja

10 nagumOmu galavAni – madhyamAvati – Thyagaraja

11 pAhi kalyAna rAma – kApi – Thyagaraja

12 mangaLam ( nI nAma rUpamulaku) – saurAStram – Thyagaraja

What a fabulous concert. Stupendous performance by the young vidwan last evening at the Ranjani Fine Arts. Well,he did have few low points but I am willing to overlook all that for the way he sang the saveri, pantuvarali and jayanthashree. They were top class and will make his guru proud.

To me the real explosion, if I may  use that word, started with the pantuvarali alapana. So much packed in that one. Some brilliant sojourn at the higher octave, the build up with which he progressed to the tarasthayi passages ( very typical of TNS himself), makes one to applause with out selfawareness. Many ‘aha’ moments. Brilliant wound up and conclusion. Breath taking neraval. K P Parameswaran made his presence felt with that one act of excellence at the beginning of the neraval. Equally strong kalpana swaras.

Jayanthashree alapana was a surprise. Not heard many attempting, the closeness to hindolam is evident. Interestingly Nishant Chandran did not play a return alapana here. Marukelara was not uncommon. And many sing swaras too.

Saveri alapana again was classy. Again I am impressed with the way he plan and execute the alapana. Nice mix of early short phrase, steady increase to some beautifully conceived long akara phrases, some impressive higher octave sancharas, some of the typical TNS style ‘up-down’ movements ( with a similar hand gesture) etc were pleasure to watch and listen. There was a couple of very innovative phrases too. Nishant Chandran played a commendable alapana in his turn. He was largely subdued and mantled the role of a supporting artist through out. As K P Parameswaran set to tune the mrudangam, Krishna started of with a nice shlokam from ‘Rajarajeshwari Ashtakam’.  I personally like when a kriti is preceded with a shlokam, after the alapana. Now the indication are clear that the kriti is going to be one on ‘Devi’. Tulasi Jagajjanani or dEvi pAvanE were my choices. He again surprised us with singing another very rarely heard kriti of Thyagaraja’s Tiruvotriyur Pancaratna. I heard this only from his father in one of the AIR program. Neraval was again very very good , with a long neraval line to my liking. Very trademark TNS school swara prasthana befitting the main. Some  of the intricate swara patterns were probably a bit complicated but the percussion support was awesome here, while violin might have found it too hard to mettle.  He did not stop there. Added a garland of fast swaras in a bunch of varying ragas, some of them went in a flash even before my poor brain to decipher.

K P Parameswaran, one of the prime disciples of T K Murthy is not featured in Bangalore much. I am seeing him for the first time and what an impression he made last evening. His tani avartanam too was notable for the way it was presented. Very measured and structured, not trying to make the repeated sarvalaghu patterns to fill, not stretching beyond what is needed,  yet making an impact. Good job overall.

Concert started with the bangala kriti and a darbar kriti following immediately. Darbar definitely wasn’t good to me. I thought it was too fast and a bit uneven in the kalapramanam. The overall concert in general as a notch faster than usual. But despite all that, he did a tremendous job. The way he mixed kritis, alapana, shlokams and viuttams, his command over laya evident in the neraval and kalpana swaras were impressive. If one closes the eyes and listens to him, one want blame for seeing the images of the senior in front of you.

An all Thyagaraja affair. Apparently, this being the 250th birth year of the Composer, organisers decided to pay homage to the Vaggeyakara. The above list is a result of the same. The post main too , barring a Tamil viruttam, adhered to the theme, with some nice picks.

I thoroughly enjoyed the concert and will make a point to attend his future concerts in Bangalore.

 
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Posted by on September 11, 2016 in Uncategorized

 

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T S Sathyavathi , Lecture Concert on Mysore Vasudevachar @ Nadasurabhi 21st Aug 2016

Vocal : T S Sathyavathi

Vocal Support : Lavanya & Anjana

Violin : Charulatha Ramanujam

Mrdangam : Tumkur Ravishankar

Ghatam: G Omkar Rao

Lecture on Compositions of Mysore Vasudevachar

01. shLOkam ( yo’ntaH pravishya mama vAcam imAm prasuptAm)

Dr.Sathyavathi, started her evening lecture with explaining the importance of understanding the composer in appreciating his music. Knowing the musical vision and the musical acumen of the composer can enhance our ‘joy’ of listening to his compositions. Getting closure to the composer, his sensitivity and sensibility in creating ( and our ability to interpret ) each sangati, is an experience to the listener. Vasudevachar’s 150 odd compositions with notation is available in Kannada, and now in English ( compiled by Sri Bangalore S Shankar and released recently) for everyone’s access. By following the notation you can only repeat what is created, but by studying the composition closely, you can give it a new dimension.

Mysore Vasudevachar is one of the most illustrious composer post trinity. In fact, he was one of the ‘Mysore Trinities’ of the 20th century – Sadashiva Rao and Muthaiah Bhagavathar being the other two, patronised by the Wodeyars. During Wodeyar’s time, all types of music was thriving in Mysore. Western Bands and Hindustani Music was also popular and had great influence on the carnatic music. The evident is in the increased use of hindustani originated ragas in carnatic music. Importantly, these hindustani ragas weren’t used as is, but were given a “new personality, new life and new shade” by Vasudevahar. He studied Sanskrit and Music were his elective during his education at Maharaja College. His Sanskrit was akin to Dikshitar’s. His music had a lot of influence from both Dikshitar and Thyagaraja. From Dikshitar, he followed the ‘madhyamakAla model’ and ‘the bhAva’ aspect and the use of ‘colloquial’ Telugu from Thyagaraja. He did not copy them , but created his own original versions. From Dikshitar, he also imbibed the use of variety of tALa. He composed in large number of irregular talas like chaturashra dhruva, khanda ata, mishra mathya, mishra jhumpa, khanda jhumpa, tisra triputa, mishra triputa and also in tisra roopakam ( different from khanda chapu and probably the only thillana in this tala).

Use of Chitta swaras ( Chitraswara)

He had composed 4 varnas in Sanskrit, including one in praise of Ganesha (probably the only one). Vasudevachar’s use of chitraswara (  she preferred the word chitraswara in stead of chittaswara , gave an explanation of the former and the possibility of the change over the period of time) were special. Each of them were beautifully designed and incorporated. They could have been the result of spontaneity or a deliberation from the composers part. She went on with few examples by singing them and explaining the nuances.

02 chittaswaram from kAnaDa varnam ( vAraNAsyam pranamAmi )

       She mentioned this as ‘sarva svara svarAnga??’ ( do correct me) where every swara takes one akshara.

03 chittaswaram from naLinakAnti varnam ( evarunnAru)

       She explained this can be sung in two modes, in ‘Ghana’ and in ‘naya’, singing the same set of swaras in two style with and without emphasis to give it a different feel.

She made parallel to the ‘Kadambari’ of Banabhatta here. Banabhatta after completing the epic, wasn’t happy with the ending and had requested his sons’ help. The story goes like this, he asked each of them to describe the dry tree. The elderly one came up with something like “shuSkaH kaSTaH tiSThaty agrE’ and the younger one came up with ‘NIrasa  tarUriha vilasati purataha’ and he supposed to have chosen the latter, even though both has the same meaning.

Note : I am gravely erred here to my confession, but it was nice way to describe the nuances of the changes in the way one can perceive and practice the swaras without any differences to the original meaning. I will seek help from ‘knowledgeable’ people and correct it soon.

04 chittaswaram from mandAri varnam ( vanajAkSA )

     This chittaswara traverse in 3 octaves, singing this is a good exercise to the voice.

Madhyamakala Sahityam

Vasudevachar composed many kritis with madhyamakala sahitya, similar to Dikshitar, but it was not a regular feature in his compositions. She explained some of the highlights of his madhyamakala sahitya with these examples

05 madhyamakala sahitya from ‘praNamAmyaham’ in ranjani.

     She explained how he adjust the sahitya to the tAla ( mishra triputa). She said, even if you are listening to the composition in Radio, one should be able to put tala to it,  such should be the placing of the sahitya in a composition.

06 madhyamakala sahitya from ‘mAmavatu shrI saraswati’ in hindOLam

   He was very keen in using the zig-zag pattern – vakra sanchara, here.

Chittaswaras in viLambakAla Compositions

Vasudevachar, spent nearly 6 years at the Kalakshetra, setting music for Dance. Rukmminidevi Arundale was the beneficiary. This stay, however,  helped in his popularity. People came to know about Vasudevachar and his compositions and artists and musicians started singing them in the concerts. She mentioned her own personal experience of a Lec-Dem in Chennai on Sadashiva Rao. She said, very few people knew about Sadashiva Rao and his compositions, where Vasudevachar on the other hand was very popular.

07 chittaswaras from ‘rA rA rAjIva lOchana’ in mOhanam

  She explained the patterns of 3 and 5 in the mukthai in both rA rA rAjiva lOchana’ and ‘chAmuNDEshvai pAlayamAm’.

 She mentioned an anecdote on GNB singing this kriti in front of Vasudevachar. GNB was hesitant, to sing it for obvious reasons,  but in the end with tears in his eyes Vasudevachar was magnanimous to admit that GNB sang the kriti better than he himself has composed. He said some thing in the lines of ‘what I gave you was a ‘nirAbharaNa sundari’ ( help needed !) but you presented it as a ‘sAlankita bhUSita kanya’.

08 chittaswaras from ‘shrI chAmuNDEshwari pAlayamAm’ in bilahari

    She sang the chittaswaras a couple of times and said until you reach the ‘ri’ you don’t know where is he leading you.

09 chittaswaras from karuNisau tAyE in saraswati manOhari

Vasudevachar composed only one kriti in Kannada Language. This was after much request from the King. After all other composers yielded to the demand, and after much persuasion he finally composed one in Kannada.

10 chittaswaras from ‘manasA vachasA shirasA anisham’ in bEgaDa

She said, it was the beauty and duty of him to enhance the lyrical vision of the kriti here. Same notes takes a different approach. She explained this change of ‘bhava’  of the raga at the charanam line karuNAnvitam

11 chittaswaras from praNatArthi haram in chenchurutti

Vasudevachar has many compositions on Vishnu and a few on Rama. He had composed only one or two kritis on Shiva.  Pranatarthi haram is one of them.

Rare Ragas

Vasudevachar composed in many rare ragas, or new ragas like kadanakutuhalam, sudha sALavi ( not heard this before) etc and in hindustani ragas ( 3 in hindustani kApi and 2 in behAg).

She said the version of the hindustani kApi kriti she was taught by Doraiswami Iyengar was a different pAThAntaram from what is popular now. Her version, did not have kAkaLi niSAda or anthara gAndhAra. It was a janya of kharaharapriya. But, she said, the current version is different and the book of Vasudevachar’s compositions is also with the new version.

12 bhajamAdhavam anisham – hindustAni kApi

Bhava aspect in his compositions

Sensitive and subtle interpretation of the rAga is essential to bring out the bhAva in the compositions. She explained this with shAradE pAhimAm in yadukula kAmbOji

13 shAradE pAhimAm – yadukula kAmbOji

She said, her Guru was the best in singing this kriti and she is only making an attempt to go closure to his singing.

Before concluding her lecture on the specialties of his compositions, she did give the statistical highlights for the record ( 8 jati swaras, 16 varna, 150 kritis, 10 thillanas,6 javali and 8 ragamAlika compositions including those in praise of each of the trinities). She said it is important to understand the composition and know the meaning for one to appreciate the composer. Otherwise, one will say ‘music is good’ but will not be ‘special’ to him. Grammar alone can’t help. Mere grammar is not poetry, it had to come from within. Its the same with music.

Note 2 : These are some of the points I ‘noted’ from a running lecture. There are many short comings in this update and it is my own limitation in capturing the essence of what was spoken. There are few mistakes above and I welcome anyone correcting me here.

Concert

01 evarunnAru ( varNam) – navarasakannaDa

02 mama hrdayE – rItigauLa  ( S )

03 bhajarE rE bhaja mAnasa shrI narasimham – mOhanakalyANi  ( A,N,S )

neraval & swara @’paramAtbhuta rUpadharam karuNAkaram harim’

04 palukavadEmirA – dEvamanOhari

05 bhajarE rE mAnasa shrI raghuvIram – AbhEri ( A,S,T )

06 tillAna ( nadru dhIm nAdru dhIm dhIm taraNa dhIm) – kAnaDa

07shLOkam ( mangaLam kOsalEndrAya)

Concert was the continuation of the lecture. She explained each compositions ,its nuances, the specialties as she moved on. The selection of varnam, made my day. Beutiful reetigula came in with some memorable swaras to accompany.  But the highlight of the evening was the mohanakalyani kriti. A classy  alapana, allowing one of her disciples to pitch in occasionally, followed by probably the best kriti in mOhanakalyani ( my personal preference). An elaborate neraval at ‘paramAtbhuta’ was brilliant. I’ve heard this kriti from TNS (and fallen for its beauty ) many years ago at Gayana Samaja ( he sang neraval at ‘paramabhakta prahLAda) and again last year at Sanjay Nagar. The kalpana swaras were impressive too. Abheri was the main, and it had to be his masterpiece ‘bhajarE rE mAnasa’. Alapana was short, there was no neraval but had a detailed kalpana swaras.  Tumkur Ravishankar and Omkar played a delectable tani avartanam post main. The percussion, especially Ravishankar, was very good through out the evening. So, was Charulatha on violin. Her following for Abheri and Mohanakalyani was very good. She concluded her concert with the tillana in thisra roopakam set in kAnada. Very  informative session followed by a sweet and short concert.

 
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Posted by on August 22, 2016 in Uncategorized

 

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Pavan Rangachar, Karnataka Vaibhava, Nadasurabhi 20th Aug 2016

Vocal : Pavan Rangachar

Violin : Nagaraj Mandyam

Mrudangam : Renukaprasad

List

01.  siddhivinAyakam sEvEham – mOhanakalyANi – Muthaiah Bhagavathar (A )

02. chintayAmi jagadamba – hindOLam – Jayachamarajendra Wodeyar ( A,S )

03. varalakSmi namOstutE – gaurimanOhari – Mysore Vasudevachar ( A,S )

04. kEshavanolumeyu Aguva tanakA – thODi – Kanaka Dasa (A,N,S,T)

neraval & swara @ ‘varavElApurAdi kEshavana smarisuvavanigE mOkSavu tappitE’

05. harihara ninnanu mechisa bahudu – sindhubhairavi –  Purandara Dasa

06.  shLOkam ( mangaLam kOsalEndrAya) – mdhyamAvati

First time listening to Pavan Rangachar in a concert. He has a very sweet, mellifluous voice, very similar to a play back singer or one used to hear in ‘light music’. His singing style is also matching to his voice. Not a typical open throat-ed powerful and stressing at appropriate places as we see in the classical singers. However, his ability  and manodharma is at par with the leading artists of the day and he presented a scholarly concert yesterday at Nadasurabhi.

First of all, he stayed to the theme of the concert, selecting and limiting his choices to ‘karnataka composers’. Even in that, he picked some interesting mix  and presented them very well. Concert did have a feeble start, with both mOhanakalyani and hindOLam did not really appeal to me. But, with the gowrimanohari kriti onwards, he seems to have found his rhythm. Short alapana, the kriti and the kalpana swaras are presented with such a command and it was pleasing to listen. Swaras were top class,too.

The main, thodi alapana was again done very well, especially some of the long fast paced , bhriga laden sangatis in ‘akara’. Couple of instances of improper breath breaks (he had a trouble during gowri manohari swaras as well) could have been avoided, especially  since he was on a smooth flow at that instance. Otherwise,his thodi was again of very high caliber. Kriti was a very pleasant surprise. I am a ‘sucker’ for long neraval lines and he did a wonderful job here. So was the kalpana swaras, which brought Sri Renukaprasad to limelight with some impressive accompaniment. He played a short tani avartanam suiting to the occasion. Concert concluded with a devarnama, post the main.

 
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Posted by on August 21, 2016 in Uncategorized

 

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