Vocal: Neyveli Santhanagopalan
Vocal Support : Guruprasad
Violin : Charulatha Ramanujam
Mrudangam : Anoor Ananthakrishna Sharma
Ghatam : G Omkar
Thematic Concert on Muthuswami dikshitar Kritis
01 swAminAtha paripAlaya – nAttai – Dikshitar ( S )
02 srI saraswathi namOstutE – Arabhi – Dikshitar
03 kanchadalAya dAkshi – kamalA manOhari – Dikshitar ( O, N, S)
neraval & swaras @ rAkA shashivadanE suradanE rakSitamadanE ratnasadanE ‘
04 rAmachandram bhAvayAmi – vasantha – Dikshitar
05 parimaLa ranganAtham bhajEham – hamIr kalyANi – Dikshitar ( A,S )
06 trilOchana mOhini tripurANi – bhairavi – Dikshitar
07 srI rAmam ravikulAbdhi sOmam – nArAyaNa gauLa – Dikshitar ( A,S )
08 pAlayamAm pArvathIsha – kannaDa ? – Dikshitar
09 kamalAmbikE – thODi – Dikshitar
10 srI subrahmanyAya namastE – kambOji – Dikshitar ( A,N,S,T )
neraval & Swara @ ‘ bhUsurAdi samastha jana pUjitAbja’
11 srI ramA saraswati – nAsAmaNi ( nAsikAbhUshaNi ) – Dikshitar
12 mAmava pattAbhirAma – manirangu – Dikshitar
13 srI venkaTa girIshamAlOkayE – surutti – Dikshitar
14 slOkam ( mangaLam kOsalEndrAya) – madhyamAvati
A fabulous concert on a saturday morning at Nadasurabhi by Sri Neyveli Santhanagopalan. Themed as Muthuswami Dikshitar Compositions, he started to ( to my fear) with the familiar set of kritis. Swaminatha with some good set of swarams ( nothing to beat the same he did a few months back at Karanji Anjaneya Temple) he quickly moved on to Arabhi and regular kamala manohari kriti. Though the neraval was very detailed and unlike the usual fast paced ones, I was sceptical with the line the whole concert was taking. Not often heard kriti ‘rAmachandram bhavayami’ , changed the course. He checked whether the audience like rare kritis or the familiar ones ? Response was for a mix of both.
Explaining the background of the ‘parimala ranganatham bhajeham’, connected to the temple in the same name at ‘Thiru Indalur’ near Mayavaram ( correct me if I gathered the name of the place wrong), he said there are two versions ( pATantharm) to this song. He chose to sing the hamIr kalyAni ( he did not explain the other version), with a detailed alapana ( first of the morning). Alapana was very interesting, as he sang mostly in longer phrases, occasionally holding for a deep inhale. Charulatha’s return also followed the same longish phrases line. A nice kriti, accompanied with some swara singing, this time looping in the shishya called Guru in the proceedings (Of course, he did a good job).
He continued the rare kritis with a bhairavi ( or was it mukhAri?) , trilOchana mohini before another surprice in the form of Narayana gaula. He said, this raga used to be one of the ‘ghana panchaka’ ragas in the earlier days, but lost out after kEdAragaula becoming popular. These days, T M Krishna, sort of revived this , taking it up to the prime slot in a couple of concert and also with a pallavi. Narayana gaula Alapana was very good ; slow and melodious. Interestingly, Charulatha did not play back ( they had a quick word in between) , not sure why. I would have liked to hear her playing this. Krithi was also sang brilliantly. As an after thought, after the percussionist played a round of korvais and concluded the kriti, post the customery applause after the piece, with a pause, Sri Neyveli Santhanagopalan initiated the swaras for narayanagaula, which he and the team did commendably. Anoor Ananthakrishna Sharma was at his best during this.
Couple of fillers in kannada and a navavarana kriti in thodi, the main kamboji alapana came in. Like yesterday, this too failed to create any real excitement in me. The choice between O rangashai and Subrahmanyaya namaste were on the card, and it was the latter that he decided to sing. Kriti was majestic and it was a fitting rendition. He indicated to the mrudangist after the kriti, and to our relief, Anoor Ananthakrishna Sharma, requested the artist to continue with neraval and swara. It was beautifully constructed and performed between all the participant on the stage. Neraval was excellent and so was the swara that followed.
Percussion support was superb through out the day. Anoor Ananthakrishna Sharma leading the way with Omkar giving a spirited performance. They continued their good form with a solid tani avartanam. Charulatha was as good as she always is. Post main had a few kritihis including one of my favourite mamava pattabhirama’ in manirangu. In all, a solid performace by Guru and his Guru.