Vocal : Bellary M Raghavendra
Violin : M S Govindaswamy
Mrudangam : B C Manjunath
Ghatam : N S Krishnaprasad
01. vanajAkshi ninnE kOri ( varNam ) – kalyANi – Pallavi Gopala Iyer ( O )
02. SLOkam ( rAmAya rAmabhadrAya rAmachandrAya vEdhasE ) – nATa
jaya jAnaki kAntha – nATa – Purandara Dasa ( O )
03. SrI raghukulamaNDu putti – hamsadhwani – Thyagaraja ( A ,N,S )
neraval & swara @ ‘ parama bhaktulanu pAlanamu sEyu’
04. rAma rAma yani chintincha rA dA – yAgapriya – Bellary Raghavendrachar ( A )
05. banTu rIti kOlu – hamsanadam – Thyagaraja ( O,N,S )
neraval & swara @’ rAma nAmamanE vara khadgamivi ‘
06. sujana jIvanA – khamAs -Thyagaraja
07. dwaitamu sukhamA – rIti gauLa – Thyagaraja ( A )
08. pAlintuvO pAlimpavO – kAntAmaNi – Thyagaraja ( O,S )
09. nannu brOchutakevarunnAru – SankarAbharaNam – Mysore Vasudevachar ( A,N,S,T )
neraval & swara @ ‘ karunAkara akhila jagadAdhAra SrI raghuvara ‘
10. rAmanukku mannan muDi – hindOLam – Arunachala Kavi
11. rAma rAma rAma rAma rAmA yennirO – shubha pantuvarALi – Purandara Dasa
12. rAm nAm rasa pIjE – ? – Meera Bhajan
13. tAnOm nOm tadara thilAna – rAgamAlika – BMK
14. mangaLam jayamangaLam – madhyamAvati – Purandara Dasa
I wonder, why the organisations in Bangalore continue to parade artists from other states when Karnataka has abundance of talent within its shore. I continue to see the same predictable names performing over and over again. My issue is not with that, but in not seeing these hugely talented musicians from Karnataka regularly in the events here in Bangalore. This is probably the third time I am listening to Sri Raghavendra in a live concert and each time, the same question has propped up again. One can understand the commercial aspect of organising events and a “performer” is a safe bet over a “musician”.
Sri Raghavendra gave a splendid concert yesterday at the Ram Seva mandali concert at Koramangala. A well balanced and cleverly crafted concert with appropriate spread and selection. What was impressive to me was his ability to fit in as many alapanas, the mix of kritis in its speed, tala and the relative rarity in concerts. I also observed his interesting deploy of ‘eduppu’ on swara singing often shifting one or two beat after samam. Alapanas were all delectable, neravals were energetic and kalpana swaras were brilliant. The accompaniment added flair ( especially B C Manjunath) to the whole evening.
After a few minutes of sound hiccup , until they more or less got it right, the concert proceeded without much trouble. He seems to be having issues with the feedback ( in the absence of feedback speakers) for a while. However that did not hinder the proceedings. After the kalyani varnam and a qucik nata, he sang a short alapana of hamsadhwani. We dont usually see neraval done for hamsadhwani, and the ‘parama bhaktulanu pAlanamu sEyu’ did enough justice to that. A short round of swara followed. Yagapriya ( Mela 31 ) was the first longer alapana. The composition of his grand father ( ? ) , was very good. The change of gear to a faster hamsanadam with neraval and swara ( short though) came in before a slow khamas. Expecting the main to start, as he launched into a sweet alapana of reetigaula, gave some expectations of a rare feat. It wasn’t to be. Another filler came in a rare kantamani ( heard often from Malladi Brothers) before the main.
Sankarabharanam alapana was classy and with the credit due to a main. Detailed , with traditional phrases, traversing all the octaves, the ‘bhriga’ laden druta-passages, it comprised all that was expected for a main and a major raga of Sankarabharanam. The selection of kriti was splendid. Another rare gem of Mysore Vasudevachar, including all the chittaswarams was a real treat. The start itself was very captivating, and at every charana interval, he came back to the pallavi line with a new ‘sangati’. Brilliant neraval and a good kalpana swara in two speed was beautifully delivered.
Manju was the livewire. He accompanied superbly through out the evening and with his percussion assistant played out a crisp but class tani avartanam. Krishnaprasad on ghatam was also very impressive in the evening. Post main had few kritis, in which the devarnama and the thillana stood out. Rama rama rama rama , usually heard in tilang or vasantha was sang in shubhapantuvarali, which probably gave it more ‘bhava’ than the other versions. Similarly, the looong thillana of BMK was interesting.
A very good concert with a fabulous selection of kritis by Sri Bellary M Raghavendra. I hope to see and listen to him more often.