Vocal : T M Krishna
Violin : R K Sriramkumar
Mrudangam : Arun Prakash
Ghatam: Giridhar Udupa
Songlist:
01. vanajAkshi (varNam) – kalyANi – Pallavi Gopala Iyer
02. thyAgarAja pAlaya sumAm – gauLa – Muthuswami Dikshitar ( N,S )
neraval & swara @ ‘ srI nagarasthita durusuga?’
03. narasimha mAmava – Arabhi – Swati Thirunal
04. ambA nIlAyadAkshi – nIlAmbari – Muthuswami Dikshitar (A )
05. sarasa sAmadAna – kApi nArAyaNi – Thyagaraja (O,N,S)
neraval & swara @ ‘ hitavu mATalentO bAgA balkitivi’
06 OsOsi ( kasiki poyyEnE ) – mukhAri – Muddu Natesha ( A,N,S,T)
neraval & swara @ ‘ mudduku manam idaru’
tani Avartanam
07 sadAnanda thAnDavam – bahudhAri – Achuta Dasar
08 RTP – thODi – Chatusra Triputa Tisra Nadai
Pallavi lne ‘ tiruparangiri tiruchendur pazhani malai muruga turuveragam tirutanigai pazhamudir cholai’
rAgamAlika swaras in mOhanam, surutti, panthuvarALi, sahAna, tarangiNi, chalanAttai, sahAna ( as per vankatamakhi scheme), laLith
09. nanda gOpAla – yamunA kalyANi – Muthuswami Dikshitar
10. dAsarandarE purandara dAsarayya – yadukula kAmbOji – Purandara Dasa ??
11 sAgara shayana vobhO – bhAgEshri – MDR
12 mangalam kOsalEndra – bhAgEshri , madhyamAvathi
nI nAma rUpa – saurAshtram – Thyagaraja
Too many slow tempo kritis , in an otherwise good concert by TMK and team. Crisp varnam ( against his usual start with a heavy kriti, in recent concerts) was a good start. Gaula krithi was in ‘vilamba kAlam’ and was elaborate. Soon followed another slow rendering of neelambari. He changed gears with a high speed charged kApi nArAyaNi krithi, but soon settled back to another slower piece as his main. Mukhari alapana was good and the violin return was even better. Instead of the usual heavy weight kritis in Mukhari, he coose a padam OsOsi ( people know it with this name). Tani Avartanam by Arun Prakash and Udupa was very good. Arun Prakash in general was very good. The slow tempo effect was seen with the overall percussion team.
The saviour from boredom was the Pallavi. I thought the thODi raga alapana was outstanding. Each phrases at the higher octaves were measured and precise. So was the pallavi, despite a small hiccup during the trikalam. Ragamalika swarams were also superb, with some good replay by Sriramkumar.
