Vocal : M S Sheela & 5 of her Desciples
Violin : C N Chandrasekharan
Mrudangam : B C Manjunath
Ghatam : Phanindra Bhaskara
Thematic concert on Karnataka ( Mysore State) Composers
01 intha sowkhya ( varNam) – pantuvarALi – Mysore Sadashiva Rao
02 gam gaNapatE namO – hamsadhwani – Muthaiah Bhagavathar ( O, S)
03 nIkeppuDu dayavuchunu – AbhOgi – Mysore Sadashiva Rao ( A, S )
04 srI chAmuNDEswari pAlayamAm – bilahari – Mysore Vasudevachar
05 amba brOvavE – dharmavathi – Bidaram Krishnappa ( A,N,S )
neraval & swara @ ‘ maha bhairavi gowri srIkrishNa pOshiNi’
06 saraswatim bhagavatim namamyaham – hamsavinOdini – Jaya Chamarajendra Wodeyar ( A )
07 shAradE shubhra hArE – shAradapriya ( rathipatipriya) – Mysore (Veena) Venkatagiriyappa
08 nI kELa daya rAdu rAmachandra – kadana kutUhalam – Mysore Vasudevachar
09 annapUrNESwari akhilESwari – kharaharapriya – Muthaiah Bhagavathar ( A,N,S,T )
neraval & swara @ ‘ sannuta guNa shAlini ambA’
10 kamalamukhiyE kamalAlayE – mOhana kalyANi – Gopala Dasa
11 thillAna ( nadir tanOm tanOm tanana dhim ) – naLinakAnthi ? – T Chowdaiah
12 mangaLam – saurAshtram / madhyamAvati – Thyagaraja
Smt M S Sheela and team presented a very good concert yesterday at the Heritage Academy Hall, for Nadasurabhi. It was announced as a thematic concert on Karnataka Composers. Prior to the start, she explained that she has choosen composers not from the Haridasa group, but the 19th and 20th century Mysore State composers.
The stage was full with 5 of her desciples accompanied her ( physically and musically) and “added colour and content’ if I borrow KSSR’s words. They joined their guru during kriti and were largely non intrusive ( against my initial fear of being noisy as in chorus singing). The audio levels of the vocal was slightly high though.
Concert started with Mysore Sadashiva Rao’s Pantuvarali Varnam. Moving on to HMB’s hamsadhwani kriti and a short set of swaras, she started the first alapana in Abhogi, which was very good. Neekeppudu was good and the swara that followed was brilliant. After the familiar ‘Sree Chamumdeswari’ , Bidaram Krishnappa’s masterpiece in Dharmavathi was taken up as sub-main. The alapana was good, C N Chandrasekharan’s return was very good. Krithi and the neraval at ‘maha bhairavi’ was beautiful. Jayachamarajendra Wodeyar’s hamsavinodini was preceded with a short alapana, which was very interesting. Veena Venkatagiriyappa’s not heard kriti in sharadapriya came ( she explained that this raga has the same scale as ratipatipriya) before what I describe as “kadana kolahalam’. There was noise all over with each of them trying to out do the other. A rare low point in the concert.
Main kharaharapriya alapana was grand and so was the violin return. Muthaiah Bhagavathar’s Annapurneswari akhileshwari is a heavy weight kriti, filled with Sangati’s at every line ( possibly). Smt MS Sheela and her desciples, I thought, did a fabulous job. The same continued through neraval and kalpanaswara.
B C Manjunath and Phanindra gave a spirited tani avartanam. Manjunath was excellent through out, especially during neravals and swaram. During the kritis, I had a feeling that he was over doing a bit ( he was not loud at any point). Phanindra, despite a low volume level, did produce some good supportive play.
Post main had a mohanakalyani kriti, supposed to have set to tune by Sheela herself, and a thillana of Chowdaiah. In all, a very well thought out and prepared thematic concert by M S Sheela.