Vocal : Bangalore S Shankar
Violin : H M Smitha
Mrudangam :B R Srinivas
Ghatam : Ranganath Chakravarthy
01. evarunnAru nannu brOvu (varNam) – naLinakAnti – Mysore Vasudevachar ( O )
02. vandisuvadadiyalli gaNanAthana – nAta – Purandara Dasa ( A,S )
03. dASarathi ninnukOri – rishabhapriya – Bidaram Krishnappa ( A,N,S )
neraval & swara @ kamalabhavana sEvanuta charita (?)
04. satatamu nInE SaraNamu nInE – SivakAmbOji – B K Padmanabha Rao ( A )
05. amba vANi nannu – kIravANi – Muthaiah Bhagavathar ( A,N,S )
nerava& swar @ ‘ varavINapANi vAgvilAsini’
06. chintayAmi jagadamba – hindOLam – Jayachamarajendra Wodeyar ( O )
07. raghuvIrA raNAdhrIrA daSaratha sukumAra – hamsAnandi – Y K Sreekantaiah ( A )
08. SrI kAmaOti pIThasthitE – sAvEri – Mysore Sadashiva Rao ( A,N,S,T )
neraval & swara @ ‘ kadambavananilayE amba kanchalOchani’
09 manavE manthrAlaya – sudhasArang ? – Padmacharan ( Krishnamachari?)
10. thillAna ( dhiraNa thana dhImta dhiraNa ) – chenchurutti – Veena Seshanna
11. vachana ( nuDidarE muttinahAradanta irabEku ) – ? – Basavanna
12. vandEmAtaram(kannada version) – dEsh – D V Guntappa
This must be the third edition of the ‘karnataka vaibhava’ series by Nadasurabhi, a concert series featuring the rich tradition of vaggeyakaras from Karnataka. This year’s series is naugurated yesterday by Vid.S Shankar, followed by a concert by him. True to the spirit, he presented an array of vaggeyakaras from Karnataka and introduced them as well as their compositions in a befitting scholarly way. The concert itself is interesting for the selection of the composers, kritis and ragas – a few in the expected lines and a few rather unheard of in the regular concerts. Most of the prominent ‘modern day’ composers were presented and with the exception of the Purandara Dasa, not many from the ‘haridasa’ musicians.
Starting with the Nalinakanti varnam, Shankar’s concert in its approach and structure was one I am used to and like. A short alapana of Nata with the ‘pitamaha’s ganesha kriti was supplemented with few rounds of kalpana swaras. First alapana came pretty soon in the form of Rishabhapriya. Violin return was adequate, but the Bidaram Krishnappa’s kriti was very good. A short neraval and a detailed kalpana swara was very good. He sang a short alapana for Shivakamboji, and Smitha excelled here with her own interpretation was very appealing. I cant be sure of the technical prowess here as I haven’t heard this much, but she was complimented for her efforts by the main artist. A kriti of B K Padmanabha Rao, a disciple of Mysore Vasudevacharya was sung. This was new to me as I am aware of a Wodeyar composition in Shivakamboji.
Keeravani alapana was long and very well played by both the artists. I like Amba Vani for its briskness ( bored of kaligiyunte) and its catchy neraval line at that speed. This is a consecutive ‘amba vani’ at Nadasurabhi, MS Sheela singing a gem last time there. Neraval was grand and so was the swaras. Two fillers, a hindolam kriti of Wodeyar and an unheard hamsanandi of Sreekantaiah ( not sure how do we spell him). Shankar mentioned that Sreekantaiah’s kritis was sung by Balamuralikrishna and Voleti in their concerts.
I did predict the main to be saveri and the magnum opus of Sadashiva Rao. His alapana was very short for a main ( around 5-6 mins), so was the violin return. But the kriti was presented to its due credit with beautiful neraval and kalpana swaras. Tani avartanam was also very short and nice. Srinivas, despite his sober looks and soft manners on stage played to the spirit of the evening.
Post main was again an interesting choice, from Basava vachana to the popular thillana in chenchurutti. He concluded the concert with D V Gundappa’s version of Vandemataram, a kannada adaptation of the national song set in the same tune.
Good start to the series which should bring more such hidden gems of compositions to the forefront.