Vocal : Hyderabad Brothers ( Vid Raghavachari & Vid Seshachari)
Violin : Delhi P Sundararajan
Mrudangam : Tiruvarur Bhaktavatsalam
Ganjira : G Guruprasanna
01 SrI gaNanAtha ( gItam) – malahari – Purandara Dasa
02 gAnasudhA rasa pAna – nAta / rAgavardhini – BMK ( O,S )
03 nI daya rAda – vasantha bhairavi – Thyagaraja
04 abhayAmbikAyAm- kEdAragauLa – Dikshitar ( A,S )
05 smaraNe ondE sAladE – malayamArutam – Purandara Dasa ( A,N,S )
neraval & swara @’sakala thIrtha yAthrayu mADidantha nikila puNyada phalavu’
06 nenerunchi nAnu – mALavi – Thyagaraja
07 dinamaNi vamSa – harikAmbOji – Thyagaraja ( A,N,S,T )
neraval & swara @ ‘ dinamaNi vamSa tilaka lAvaNya’
08 ugabhOga ( jArathvavanu mADida) – rAgamAlika ( sAvEri, bilahari, kIravAni, YamunAkalyANi?)
krishNa nI bEganE – yamunA kalyANi – Vyasaraya
09 sarvam brahmamayam – madhuvanti – Sadashiva Brahmendra
10 mAtADa bAradEnO – khamAs – Narahari Dasa?
11 mangaLam – saurAshtram/ madhyamAvati – Thyagaraja
This weekend provided ample options to choose from. There are concerts at 6 or more places with some big names to select from. TMK was a strong attraction and I had more or less decided to attend yet another concert of his, almost back to back. The switch was a later reaction to my brothers call, and I decided to attend the veteran’s at the Indiranagar Sabha. It will also, make my attendance of the Week long Annual Music and Dace Festival. I am not likely to attend any other here.
Before the concert began, Sri Seshachari ( if I am not wrong with the name of the elder), paid homage to the ‘poorva pitAmaha’ of carnatic music, observing Purandara Dasa set the basics of teaching the carnatic music with the varisais, alankarams, geethams etc. It was only with geetham, he introduced ‘sahityam’. He doubted if it is appropriate to sing a geetham at a concert, but this annual festival being a tribute to Purandara Dasa and Thyagaraja, he will start the concert with the geetham.
The concert took few kritis to warm up. There was a tea-break at the end of the vasantha bhairavi kriti. Tea was served in a professional manner ( porcelain cup and saucer) instead of disposable paper cups or small steel tumbler. A short kedaragaula alapana came lightened up by the tea. There was no violin return. Dikshitar;s kriti came with short rounds of swara. Malayamarutam was a treat, more so with the neraval and swara singing. Alapana both the main artist and the violin was just ok, but the kriti and the neraval was fantastic. The longish swara singing was equally brilliant, taking inspiration from each other. That changed the overall effectiveness of the concert.
The main harikamboji alapana started a bit hazy, but grew from strength to strength. The meditative slow tempo ( often low volume) phrases were classy. He, not being at the top of his vocal ability yesterday, sang within the limits, threading from one phrase to the other with some great precision. Sri Sundararajan extended the same with a fitting play on his return. Neraval, interestingly, was done at the pallavi line and continued with decent rounds of swarams.
Tiruvarur Bhaktavatsalam, played along pretty well with the main artists. The percussion duo, then, played a spirited tani avartanam. Guruprasanna, at the end of the tani, had enthusiastic response from the brothers, who remarked that the Ganjira playing reminded him of the great Harishankar. He wished him all the success and contiue to scale greater height, beyond what is attained by Harishankar.
Post main had a beautiful ugabhoga followed by krishna nee begane baro and a request from Bhaktavatsalam. A traditional concert from the veteran artists, in an expected line. A brilliant malayamarutam and a classy hari kamboji alapana were the take of the day.