Vocal : Cherthala Ranganatha Sharma
Voilin : T S Krishnamurthy
Mrudangam : V Krishna
Ghatam : Omkar Rao
01 chalamEla ( varNam) – SankarAbharaNam – Swathi Thirunal ( O )
02 pranatOsmi dEvam vinAyakam – nAta – Thulaseevanam ( S )
03 parama pAvani mAmava – aTANa – Annasami Sashtri ( S )
04 sadchAmara ramAvANi – hamsAnandi – Muthaiah Bhagavathar ( A,S )
05 chinna nADena – kalAnidhi – Thyagaraja
06 kamalAmbA samrakshatu – Anandabhairavi- Dikshitar ( O )
07 pAhi krishNa vAsudEva – behAg – Mysore Vasudevacharya
08 SrI subrahmanyO mam rakshatu – thODi – Dikshitar ( A,N,S,T )
09 barse badariya sAwan kI ( meera bhajan) – hamIrkalyAni
10 jagadOdhAraNa – hindustAni kApi – Purandara Dasa ( A -short)
11 hari guN gAvat ( meera bhajan) – dIpALi ?-
12 thillAna ( dhiim tadara tani dhiraNA dru dru ) – rAgEshri – Lalgudi Jayaraman
13 karpagamE – madhyamAvathi – Papanasam Sivan
Another fantastic concert by Cherthala Ranganatha Sharma, yesterday at the Nadasurabhi Monthly concert. He is one musician always impresses me. Its the heavy masculine voice, the clear diction, the uncorrupted ‘pathantharam’ , his ability to sing brilliant alapana.. and many more. Yesterday’s concert was no exception, at least on his part. While, I do have reservations on the overall combination , the concert in general was of high standard.
As the concert progressed, I for once had a suspicion that this might be a thematic concert on ‘Composition on Sanskrit Language’. Look at the list, barring the varNam and a short kalanidhi kriti, the entire list including main was composition in Sanskrit. I am not complaining.. It was nice to hear a lot of not often heard kritis and some heavy weights too. We had a little fun in guessing the main kriti after he started thODi alapana on possible Sanskrit compositions. Sreekrishnam Bhaja manasam was the first choice . Gajavadana was also came to mind. The choice of Sree Subrahmanyo mam rakshatu was splendid, without deviating from our Sanskrit choice.
The concert will be remembered for two outstanding alapana, one for hamsanandi and thOdi, the main. Both had the meticulous slow build up. The early stages of the alapana were mesmerizing to say the least. Sri Krishnamurthy was also brilliant in the early stages of his reply, matching to the slow tempo of initial phases. However, he did not maintain the same level of control towards the later stages of alapana. Thodi kriti and neraval were as brilliant as the alapana, and some good rounds of swarams.
concert started with Sankarabharanam varnam, and a Thulaseevanam kriti in Nata. A rare ( to me) aTANa kriti followed with few rounds of kalpana swara singing as in the case of Nata. Hamsanandi , as submain , was again top class, with another not often heard kriti delivered. A fast Kalanidhi and a soothing Anandabhairavi ( I especially liked the place ‘chakravarthini ! ) and an promoted behag came in succession before the main.
Krishna and Omkar, did a decent tani avartanam. Otherwise the accompaniment was just ok. Somewhere I felt there is a lack of synchronicity between the instruments and the vocal. Something like three instruments set to 3 different shruthi or so. The early clarity issue with the sound ( which got rectified to a great effect later) could also be a reason for this discomfort.
Post main had a couple of meera bhajans and a sweet kapi (hindustani) alapana. to sum it up, Sri Cherthala Ranganatha Sharma gave us a great evening. My only crib about him is on neravals. He seems to be happy with one neraval per concert. This is my experience with his past concerts ( I would have attended at least 4 in Bangalore). Otherwise, he is one artist I wouldn’t miss listening.