Cherthala Ranganatha Sharma @ Fort High School Grounds, 08 May 2013

08 May

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.

1 Comment

Posted by on May 8, 2013 in Concert songlist


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One response to “Cherthala Ranganatha Sharma @ Fort High School Grounds, 08 May 2013

  1. indigoite

    May 9, 2013 at 9:34 am

    Nice review. Was thinking of going, but missed this concert.

    Want to pick on one of the points you made – the swara patterns during the RTP that caused confusion on stage. Every concert I go to, I see at least one confusion. You see that starkly during thani avarthanam – the other percussionists have usually no clue as to what korvai the mridangam artiste is going to play.

    What stops the group from spending 15 minutes before the concert planning out the concert and indicating any special features they are going to do. Yes, Carnatic music is not a standard recipe, but surely professionalism demands a greater degree of coordination. Is that too much to ask ?


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