Vocal : S Shankar
Violin : Mysore Nagaraj
Mrudangam : N Vasudeva
01 sarasijanAbha ( varNam) – kAmbOji – Swathi Thirunal ( O )
02 siddhi vinAyakam anisham – chAmaram ( shaNmukhapriya) – Dikshitar ( A,S )
03 girija ramana natajana sharaNa – gambhIranAtta – Mysore Vasudevacharya
04 bAlE bAlEndu bhUshaNi – rItigauLa – Thayagaraja ( A,N,S )
neraval & swara @ pallavi line ‘bAlE! bAlEndu bhUSani! bhavarOga shamani’
05 janaranjani ranjani – ranjani – Mysore Padmanabha Rao ?? ( A )
06 kAdambari priyAyai – mOhanam – Dikshitar ( A,N,S )
neraval & swara @ pallavi line ‘ Adambari priyAyai kadamba kAnanAyai namastE namastE’
07 garuDa gamana samayamidE – nAgaswaravali – Patnam Subramanya Iyer
08 RTP – madhyamAvati – chaturasra triputa , 2 kaLai
pallavi line : dEvi brOva samayamidE,ati vEgamE vAchi’
rAgamalika swaras in ‘ madhyamAvati, rEvati, kApi’
08b tani Avartanam
09 shankara drI girinAtha prabhu ke – hamsAnandi – Swathi Thirunal ( O )
10 sangIta priya janasammOdini shringEri pura nilayE – jana sammOdini – S Shankar
11 srI rAma jayarAma shringAra rAma – yadukula kAmbOji – T
12 kshIrAbdhi kannike – rAgamAlkia – Purandara Dasa
13 SLOkam ( sapra prakara madhyE ) – mOhanakalyANi – ?
ranganAthage nitya shubha mangaLam – mOhanakalyANi – S Shankar
After a long gap, the concerts at Essae Music Foundation comes back with a bang ! What a way to resume the program ! Vid Shankar gave a stupendous concert today with some outstanding violin support from Mysore Nagaraj and a matching percussion support from Vasudeva. One look at the list above should be enough to give you a feel of the overall effectiveness of the concert. As always, a very balanced concert list with some fantastic selection of kritis.
Concert started with kamboji varnam, and the first alapana came immediately in the form of Shanmukhapriya. Moderate in detail, bith Vocalist and violinist did very good alapana. The take off point of the violin return, especially was very attractive. Dikshitar kriti was with some round of good swaraprasthana. After a gambhiranata kriti, reetigaula alapana came in with class. Again, taking off on a different poin, the violin return was brilliant. He chose to sing bAlE bAlEndu, a beautiful kriti seldom heard these days, was presented fabulously, with neraval ( at the pallavi line) and kalpana swaras. Brisk ranjani alapana, this time Shankar decided to start at higher octave, was yet again fantastic, with some shear brilliant phrases in the violin return. The kriti, which I believe is by Mysore Padmanabha Rao, was more of wordplay, lacking any lyrical values.
Mohanam, came in next with yet another detailed alapana. Classical fair by both Shankar and Mysore Nagaraj. It was real treat, especially some of the higher octave , druta phrases. Again, he surprised us with another relatively lesser heard kAdambari priyAyai. Beautiful kriti rendering, adorned with neraval ( yet again, at the pallavi line) and detailed swara singing.
The main, madhyamAvathi alApana came in 2 phases with some style. A very relaxed, soothing tanam ( he joked later that you are supposed to sing ‘anantam’ and not ‘dhanam’ ) was the highlight. I thought, the vocal was much better, than some flashy bow-work of violin, during tanam. The pallavi line of chintamani kriti was the pallavi. Pallavi was sung in trikalam and there was ragamalika swaras ( two rounds of each raga in two speeds) before tani avartanam.
Vid Vasudeva did a good job through out the concert, following the main artist with lot of anticipation. For a change, I saw him asking to reduce his volume, and never was heard over the voice. He continued this with a outstanding tani avartanam ( played alone for nearly 20 mins). Post main had couple of his own compositions, and again the selections were noteworthy. He concluded the evening concert with a mangalam, written and tuned by him is my guess, to the occasion ( Sri Ranganath was one of the sponsors of the evening).
In all, a great evening and a great way to re-establish the concert series.