Vocal : T M Krishna
Violin : R K Sriram Kumar
Mrudangam : Arun Prakash
Ganjira : Guruprasanna
01 rAvE himagiri kumAri – thODi – Shyama Shastri ( N,S)
neraval & swara @’kalyANi kanchi kAmAkshi nI pAdamE dikku’
02 SrI rAmam ravikulAbdhi sOmam – nArAyaNa gauLa – Dikshitar ( A )
03 sanAtana paramapAvana – phalamanjari – Thyagaraja ( A,S )
04 nagna vipina nagna gagana – kalyANi – P T Narasimhachar , puTiNa
05 rAga – AlApana mAlika 🙂 – vAgadISwari , gAngEyabhUshaNi , kIravANi,kApi
06 srI mAtrubhUtam – kannaDa – Dikshitar
07 tani Avartanam – khandajAti dhruva x 2 kaLai
08 tAnam – Arabhi
chAla kallalADukonna – Arabhi – Thyagaraja
09 bArO krishNayya – mAND +rAgamAlika – Kanakadasa
10 SLOkam ( rAmAya rAmachandrAya rAmabhadrAya) – SankarAbharaNam?,sahAna, kAmbOji, ? , kannaDagauLa
sogasu jUDa taramA – kannaDa gauLa – thyagaraja
11 krishNA nI bEganE – yamunAkalyANi – Purandara Dasa
12 nenjukku nItiyum – sindhubhairavi – Subramanya Bharati
13 mangaLam – saurAshtram – Thyagaraja
I would like to look at this concert in two parts. The brilliant first part, very sedate, very classical very traditional, though a bit on slower tempo. A start which gave a lot of hope for another stellar ‘concert’ as he did in the ‘amplification marred concert’ I attended at the same venue. But then the second part , despite being good in their own rights and merits, did not leave me with a lasting impression. It was good until the beautiful poem of ‘Putina’, the shift started there on.
Vagadeeshwari alapana was good and for once, I was hoping to hear paramatmudu after a long time, but the violin alapana starting off at vagadiswari shifted /drifted towards gangeyabhushani, on a prompt by the singer. But, the short gangeyabhushani alapana from Sriramkumar was brilliant. Krishna continued the change to Keeravani with few impressive high octave singing, and yet again Sriramkumar gave a classy drift from keeravani to kapi, and was concluded with few rounds from Krishna. On completion, he announced that it was meant to be so, and there will be no kriti or pallavi to follow. Treat this as an individual item in the concert, was his remark.
After a filler in Kannada, he decided to take it a step different. He wanted Arun Prakash to play the tani as a separate piece, in any ‘tALa’ he preferred to do. There will be nothing preceding or succeeding the percussion performance piece. Arun Prakash went a step further, offering to play the tani for any talam, suggested by the audience. Some one from the audience , then shouted ‘khanDa dhruva’ and while remarking that this would be a test for him to put Tala, Krishna asked whether he preferred single ‘kaLai’ or ‘two kaLai’, and it was finalised for 2 kaLai. Thus the tani avartanam begun, and they did a commendable job, one of the best I’ve heard in recent times.
A tAnam came soon after the tani avartanam. A long and very impressive tanam in arabhi with an equally brilliant support from Sriramkumar. I couldn’t but notice the repeated phrase at ‘dhanam tA.. dhanam tA’ during his singing, not getting any response from organisers, it changed towards ‘dAnam tA’. Interestingly, he concluded it with another ‘dhanam tA’ request. No offense meant to the artist, but I found it hilarious. It wasn’t a pallavi but Chala Kallaladu was sung, which again was pretty good.
He refused the request for the usual ‘thanks giving speeches of the organisers, announced, ‘they want to thank the artists and we artists want to thank the audience, and that’s it’. Concert continued with a chain of short kritis, some of them was sung beautifully.
Fantastic start until the multi raga alapana. The concert. despite the individual pieces being brilliant, lost the overall charm after that stage.