Vocal : Malladi Brothers
Violin : H K Venkatram
Mrudangam : M L Narayana Raju
Ganjira : B S Purushotham
01. karuNimpa ( varNam) – sahAna – Thiruvottiyur Thiagayya ( O )
02 gajAnana yanuchu sAdA – thODi – ? ( S )
swara @ ‘mOdakamunu’
03 palukavEminA – pUrNachandrika – Thyagaraja ( S )
swara @ ‘palukavEmina’
04 ennALu UrakE – shubhapanthuvarALi – Thyagaraja ( A,S )
swara @ sati mAtalADa kinchi
05 nIlOtpalAmbikAyan bhaktim karOmi – pUrva gauLa – Muthuswami Dikshitar
06 nAdupai balikEru – madhyamAvathi – Thyagaraja
07 naDachi naDachi – kharaharapriya – Thyagaraja ( A,N,S,T )
neraval & Swara @ ‘puDamisuta sahAyuDai celangE’
08 siva siva bhava SaraNam – saurAshtram – ?
09 slOkam ( sAnthAkAram bhujanga shayanam) – hamIrkalANi
smarisO sarvada hariya – hamIrkalyANi – Purandara Dasa
10 rAmabhadra rA rA rAmachandra rA rA – SankarAbharaNam – Bhadrachala Ramadas
11 nanda kadara nanda gOpanandana ? – ?
12 patiki hArati rE – surutti – Thyagaraja
slokam ( srI rAmachandraku) – surutti
The place was unusually crowded at the Sheshadripuram College. The concert started very well with the sahAna varnam. However, it did not live upto the expectations, to me atleast. B S Purushotham was the saving grace. He was excellent through out and with Narayana raju ( I’m attending his concert for the first time) gave a superb Tani Avartanam, though they ate into a possible RTP time.
People were coming in and leaving continuously to the discomfort of the artists. Ravikumar made a request to people as “if you have to leave, please do so after a song or before a song. Leaving concert during the alapana of the main krithi is a distraction to the singers and is not expected out of the audience of Bangalore which is ‘culturally vibrant city’. Do you guys do the same thing for a western concert ?”. The last was uncalled for as none of these audience would have been there to a western rock show, barring me! More people left after the main krithi before Taniavartanam, making the other brother comment ” we may have to make another announcement now”.
There was no neraval for any krithis except the main. This had created a hope for an exotic ( raga) RTP. After their kokilapriya at gayana samaja and gamanashramam at fort school, I thought we can hear another mElakartha raga pallavi. That did not happen , instead a series of small krithis followed.
He made another remark on the madhyamavathi krithi saying many artists sing this krithi as mangalam, which is not appropriate. This power and the meanig of this krithi demands a better positioning earlier in the sequence and not to be sung as mangalam. He did explain the meaning but my greak is better than my telugu and could make a little out of it.