Vocal : Madurai T N Seshagopalan
Violin : M R Gopinath
Mrudangam : Mannargudi Easwaran
Ganjira : Guruprasanna
01 everi bOdhana ( varNam) – AbhOgi – Patnam Subramanya Iyer ( S )
02 mahA gaNapatim – nAttai – Dikshitar
03 sAdhinchanE – Arabhi – Thyagaraja ( A )
04 aparAma bhakti – pantuvarALi – Thyagaraja ( A,N,S )
neraval & swara @ ‘ tripaTalanu..’
05 nA ninna dhyAna – kAnaDa – Purandara Dasa
06 ranganAyakam – nAyaki – Dikshitar ( A )
07 gOvardhana girISam smarAmi – hindOLam – Dikshitar
08 EtAvunara – kalyANi – Thyagaraja ( A,N,S,T )
neraval & swara @ ‘ sItA gaurI vAgISwari’
09 SlOkam ( sAyamkAlE vanAnthE ) – vasanta, mOhanam, khamAs followed by a chain of rAgas ending with madhuvanti
narajanma bandAga – madhuvanti – Purandara Dasa
10 nanda tanaya gOvindana – bhImpLAs – Purandara Dasa
11 thillAna ( nAdru dhIm tanana tOm ) – sindhubhairavi – ?
12 vijaya gOpAlaka mangaLam – surutti – Narayana Theerthar
SLOkam ( srIyay kAnthAya) – SrI
Wonderful concert by the Maestro yesterday at the unnati centre. He came in as a substitute. Sudha Raghunathan was supposed to perform originally, but the organisers did send a communication regarding the change few days ago. Despite the rains, the hall was packed. Some one joked that large number of thm actually came in to listen to Sudha Raghunathan, by the demographical nature of the crowd. But for the serious listeners, the evening paid more that what they would have hoped for.
I had all the trouble getting there, with my car broke down and I had to roll it back home with a burst tyre. The call for listening to TNS was far greater , and i managed to reach the venue during the varNam. Abhogi varnam was concluded after a few rounds of swaram before a quick mahaganapatim in Nattai. First alapana of the day was for Arabhi. A short and measured arabhi alap was accompanied by Thyagaraja pancharatna kriti.
Pantuvarali was the submain. Alapana was good with nothing spectacular. However, aparama bhakti came in full vigour, with a faster paced neraval at ‘tripatalanu’ with some fascinating sequences. The kalpana swara startd at the ‘madhyamakala’ and he went on to some blistering singing of swara towards the end to a thunderous applause from the audience. The violin return had to stop for a while until the excitement and the ripple effect to die down. A short and beautiful devarnama in kAnaDa came in before a fabulous nAyaki alapana. An unexpected power failure could not stop him from giving us a delightful nayaki alapana. Ranganayakam was stupendous with each of the sangati came out majestically well.
It had to be kalyani again. Unlike his usual way, the alapana was rather short ( still 10-12 mins). M R Gopinath stared well but sort of dwindled as it progressed. I expected ‘pankaja lochana’ to follow. But it was ‘etavunara’ as main. Again neraval was fantastic so was the intrinsic kalpana swaras. He reservd those trade mark kalpana swaras to the main and the team did a fantascit job to support the vocalist, especially Mannargudi Easwaran. Tani avartanam was something people will speak for a while. Mannargudi Easwaran usually do a poised , controlled tani which is well within the expected time lines. Yesterday was different, as he seems to have carried away by the inspirational kalpana swaras. Tani avartanam was stupendous with brilliant support by Guruprasanna.It was long, it was exqusite and continued on the same patterns that TNS sang in his kalpana swaras. Not surprisingly, the audience was in full support of the effort.
Post main came the slokam sayankale vananthe, ina flurry of ragas. After the initial vasanta, mohanam and khamas avartanams, he went on a blitskrieg at ‘navarasa’ switching from one raga to the other. I have seen him doing the same many a times, hence no surprice here, and I liked it every time. iruttam followed by two devarnama and a thilana in Sindhu bhairavi. He ended the concert with a Narayana theerthar mangalam.
He was singing effortlessly yesterday. There were a few glitches in his voice but largley it was cooperative. The excitement was visible. M R Gopinath gave ample support, but who lifted theconcert to a better experiece was Mannargudi Easwaran. Opting to stay silent at times, to get the beauty of the lyrics and his singing is heard with no other interventions, anticipating his swara patterns , adding on with right emphasis, encouraging the fellow percussionist and to sum it up perform a gand tani avartanam.