Vocal : Vid Bellary Raghavendra
Violin : K V Krishna
Mrudangam : Tumkur Ravishankar
Ghatam : M A Krishnamurthy
Ganjira : Vyasa Vittala
Theme : Purandara Dasa Aradhana
02. SrI patiyu namage sampadAviyal – SrI – Purandara Dasa ( ? , S )
03 pAlisamma muddu SAradE – mukhAri – Purandara Dasa ( O )
04 SrI purandara gurum namAmi – hrudini – Bellary Seshagiriachar ( A )
05 nArAyanimba nAmava – bilahari – Purandara Dasa ( O )
06 kAyalAkenO krishNa kandavaravakilanO ?? – hamsAnandi ? – Purandara Dasa ( A ) – had to step out for a while !
07 haridAsara sanga – Arabhi – Purandara Dasa
08 yArE ranganA yArE krishNana – hindOLam – Purandara Dasa ( A,N,S )
neraval & swara @ harirAja varadana parama purushana’
09 guruvina gulAma – ?? – Purandara Dasa
10 dayamADO ranga dayamADO – kalyANi – Purandara Dasa ( A,N,S,T )
neraval & swara @ ‘ harirAja varadana kAmita phalada’
11 nInE bandidanO ninna – rEvati – Purandara Dasa
12 ta tha dhimiki tadhimiki – hamsAnandi? – Purandara Dasa
13 mangaLam jayamangaLam – madhyamAvati – Purandara Dasa
I had been to many Purandara Dasa kritis concert and never ever, I had experienced one like this. Mixing some melodic kritis in Mukhari , Arabhi etc and choosing some heavy, rich ragas for mains , while choosing a mix of familiar kritis ( that are often heard in concerts) and getting some gems of kritis which are rare, Vid Bellary Raghavendra presented a brilliant concert yeasterday at the BTM Annual Aradhana Mahotsava. I have been waiting to listen to this artist for a while, and it was my loss that I did not attend any of his live concerts for this long. A man with rich voice, with some great timber at the lower octaves, such command over the verse and the raga, never going too long in any of his alapanas, while retaining all its beauty, he was very very impressive yesterday.
As I entered the hall, I was treated with Sree ragam, soon starting the swara singing, in line with the cittaswarams we are familiar with the ‘Pancharatna Kriti’. I am not sure what was sung before this, but the Sree Raga swaras was a great welcome. A familiar pAlisamma came soon. I prefer the mukhAri version, which the Karnataka artists sing, over the sri ranjani/abhogi versions which I heard few others use. The alapana of hrudini had me scratch my head over and I gave up too soon. I later googled and found that this was in Hrudini, and the kriti was composed by Bellari Venkateshachar.
A great hindolam and the main kalyani were indeed the pick of the day. Hindolam alapana albeit short stood out, with some great violin return by Krishna. The neraval and swara were very well executed. The main Kalyani too went in similar line. Both hindolam and kalyani had the neraval and swara sung at the faster speed. I am not sure why there wasn’t a low ‘kAla’ neraval for the main. Interstingly, both had a similar neraval line.
A large number of unheard kritis, beautifully paced and mixed with faster and slower kritis were the highlights of the evening. I loed the way he sang guruvina gulAma. While I still can not recollect the raga, it had a folk-ish touch and was far better that the versions I’ve heard Yesudas sing. Similarly, Arabhi kriti too had a lot of emotive value.
Percussion was complete on stage with three instruments. Despite the crowd on stage, they did a commendable job, while accompanying, never sounding too loud or playing together causing a chaos. The tani avartanam, hence was little high on decibel level, but did it with well planned brief plays between the three.
A couple of ‘devarnAmas’ concluded the concert, post a slightly longer felicitation and thanks giving to the artists and the days sponsors. Very good concert, learned a few new kritis and a new raga.