Vocal : Bangalore S Shankar
Violin : Mysore M Nagaraj
Mrudangam : N Vasudeva
01 SlOkam ( sarva vighna haram dEvam) – naLinakAnthi
evarunnAru nannu brOva ( varNam ) – naLinakAnthi – Mysore Vasudevacharya
02 ennEramum un nAmam – pUrvi kalyANi – Shyama Shastri ( A , N , S )
neraval & swara @ ‘anbuDan unnai nAn aDaikkaLam aDaindEn akhilANDEshvarI abhirAma sundarI’
03 pAlisamma muddu shAradE – mukhAri – Purandara Dasa ( A, N, S )
neraval & swara @ ‘ shringArapura nilEvAsini dEvi sangIta gAna vilAsini ambA’
04 srIdhara kEshava nArAyaNa – kalyANa vasantham – Udayashankar ( from a kannada movie ?)
05 raghupathE rAma rAkshasa bhImA – sahAna – Thyagaraja ( A, N, S )
neraval & swara @ ‘ sarasIruha nayana sajjana hridaya nikEtana’
06 RTP – brindAvana sAranga – chathusra triputa , 2 kaLai
pallavi line ‘ brindAvana vihAra karuNAkara srIkara’
ragamAlika swaras in rEvati , mOhana kalyANi , sindhu bhairavi , brindAvana sAranga
07 sAma nigamAgama – bhAgESrI – Sachidananda
08 SlOkam ( SrI rAmam jagadEka vIram) – rAgamAlika – hamsAnandi , ___ , AbhEri , surutti
Blissful concert today by Vid Shankar at the Essae music Foundation. I am a great sucker of neravals and Shankar never disappoints. Every concert I attended had a minimum of three neravals.
Concert started with the naLinakanthi varnam of Mysore Vasudevachar, which is not often heard in the circuit. A detailed alapana of Purvikalyani came pretty early and the tamil kriti of Shyamashasthri was a surprice. The neraval was long and detailed so as the swara that followed. Up ahead of the chart a 30 minute rendering gave hints of what to follow. Another alapana, this time in Mukhari followed suit. The alapana was slightly at a faster tempo, and had some great violin return from Nagaraj. Palisamma Muddu Sharade, a kriti of Purandara Dasa came ; even this I thought was slightly at a faster tempo. I’ve heard TMK singing this much slower. The beginning wasnt very smooth, but the faster tempo made a lot of sense during the neraval. It was fantastic by both vocalist and the violin.
A filler in kalyAna vasantham was new to me. A quick search indicated this from an album by PB Srinivas. Not sure, though. Sahana came next again with some briliant alapana by both Shankar and Nagaraj; some exceptional play by Nagaraj. Thyagaraja kriti raghupathe was another charm, again followed with neraval and swara singing. By now there was a hope for a grand main to follow.
Brindavana Saraga brought rain showers. Despite few hiccup with the seating, the alapana continued in its grandeur. Equally brilliant was the violin return. Soundararajam was my prediction, but he started to sing tanam, with Vasudeva chipping in with mrudangam accopanying the tanam. Shankar was also putting talam during tanam. Tanam was good. Pallavi was set to Adi talam and there was no trikalam sung. He started with ragamalika swarams in revathi , mohanakalyani and sindhubhairavi before the swaras in main raga.
Tani avartanam was good , Vasudeva continuing his generally high standard of percussion support. Post main had an intersting kriti in bhageshi with the lyrics is formed by the swaras of the raga. Shankar explained the lyrics and its meaning. He concluded the concert with a longish slokam in ragamalika ending with surutti.
Skipping Matallica for this one was worth the time.