Vocal : Cherthala Ranganatha Sharma
Vocal Support: Shravan
Violin : C N Chandrasekharan
Mrudangam : J Vaidyanathan
Ganjira : Alathur Raja Ganesh
01. chAlamu sEya ( varNam) – valaji – Lalgudi Jayaraman ( O )
02. parAku mADadE – kharaharapriya – Purandara Dasa ( A(short), S )
03. sachAmara ramAvANi – hamsAnandi – Muthaiah Bhagavathar ( A,S )
04. kshitijA ramaNam – dEvagAndhAri – Dikshitar
05. bhOgIndra SAyinam – kuntaLa varALi – Swathi Thirunal
06. dhyAnamE varamaina – dhanyAsi – Thyagaraja ( A,N,S,T )
neraval & swara @’dharanu velayu shrI rAmuni kOri‘
07. varasikhi vAhana – supradIpam – Thyagaraja
08. RTP – simhEndramadhyamam – Chaturasra tripuTa , misra naDai
pallavi line “ninnE nammiti nIvE gati nIraja nayana rAmA srIrAma sItArAma’
rAgamAlika swaras in ‘ mOhanam, kApi, sahAna, sindhu bhairavi’
09. hari guN gAvat – dIpALi ?? – Meera Bhajan
10. idu tAnO thillai sthalam – behAg – Gopalakrishna Bharathi
11. rAma manthrava japisO – jOnpuri – Purandara Dasa
12. mangaLam – saurAshtram / madhyamAvati – Thyagaraja
I guess, Sinhendramadhyamam and Keeravani will chase me through out this series. First 4 concert had them as main, and had another two as a welcome kriti, by young artist performing prior to the main concert ( one before TMK’s concert and the other before NSG’s). This time, it came in the form of Pallavi. Just sayin, no complainin…
Another classical affair today at the Fort High school ground. Cherthala Ranganatha Sharma as always presented a neat, planned, as expected classy concert. Again as expected, with only one neraval ( again just sayin) ! As many as 10 composers, variety of talam, as many as 4 alapana and a pallavi this time. A concert with a detailed dhanyAsi will always score high on my list..
Started dot on time with a LGJ varnam in valaji and the team soon set in motion. A very short kharaharapriya alapana came, and he insisted the violin do the same. Paraku Madade was nice, accompanied with a few rounds of swara. Hamsanandi alapana was very good. He sang it in short phrases and the return alapana was one of the high points of C N Chandrsekharan today. Tthe Muthaiah Bhagavathar’s kriti was sung in Bangalore before. This came with few superb rounds of swaras, played equally brilliant by CNC. Two fillers,in devagandhari and kuntala varali ( guess it was a request – many papers were handed over at this juncture) came in before main.
Dhanyasi alapana was grand, especially the initial phrases were outstanding. Again the build up was slow and progressed through short phrases and finished brilliantly. Violin return was ok. The choice of the kriti was also fantastic. The neraval was splendid especially in the slow tempo. The kalpana swara followed the same pattern starting with slow tempo and switching over to medium/fast paced swaras. Vaidyanathan and Raja Ganesh played subdued tani avartanam ( I mean, no banging the instruments, but playing some intricate complex korvai) and was very effective.
A pallavi was in the offing and there comes Simhendramadhyamam. The two phase alapana( one by violin) was on longer phrases and I felt, somewhat hurried through. Tanam was very well done. Pallavi was sung in trikalam with some good work by Vaidyanathan. But the pallavi line by itself, was ordinary, no innovations there. There was ragamalika swarams , albeit short. He concluded with some interesting swara patterns, which seems to have caused some confusion on the stage as the rest of them took a while to grasp.
A couple of short kritis post main, nothing to talk home about ( may be the meera bhajan with few hindustanish take as we see in the abhangist’s concert). Overall a top class concert ( and with dhanyasi main ) as expected from Cherthala Ranganatha Sharma.