Vocal : V R Dileepkumar
Violin : Mathur Srinidhi
Mrudangam : Vadakara P Anilkumar
01 mAtE malayadhvaja (varNam) – khamAs – Muthaiah Bhagavathar ( O )
02 shrI raghukula muNDubutti – hamsadhvani – Thyagaraja (S )
03 sogasu jUDa tarama – kannaDagauLA – Thyagaraja
04 karuNAm vidEhi mayi – malahari – Irayimman Thampi ( A,S )
05 marivErE dikkevaru rAmayya – latAngi – Patnam Subramanya Iyer ( A,N,S )
neraval & swara @ ‘ daralOna nI sATi daivamu nE kAna’
06 kaNNa tanri nApai – dEvamanOhari – Thyagaraja
07 saraguNa pAlimpa – kEdAragauLa – Ramanathapuram Srinivasa Iyengar (A,N,S,T )
neraval & swara @ ‘ manmatha janaka maharSamunaku nIkEtana mahanIya shrInivAsa nIru’
08 shLOkam ( kastUri tilakam lalATa) – tilang
dAsara nindisa bEDa – tilang – Purandara Dasa
09 eppO varuvArO – jOnpuri – Gopalakrishna Bharati
10 alarshara paritApam – suruTTi – Swathi Thirunal
11 mangaLam – saurAshtram – Thyagaraja
shLOkam ( mangaLam kOsalEndrAya ) – madhyamAvati
What a fabulous concert ! That one ‘malahari’ alone made my evening. Such a free flowing swaras, amazing control, mesmerizing alapanas..some great support from the fellow musicians on the stage. Very memorable evening.
He is singing in Bengaluru after nearly 3 years and from his side he made the most use of it. The start with the khamas varnam itself was grand. Very moving and emotive. Hamsadhvani kriti was fast and he added some brilliant rounds of kalpana swaras, giving a hint of what is in store for the evening. The violin and percussion set to the style and mood of the main singer with the hamsadhvani piece. Another slow kannada gaula kriti came in soon.
He then moved into an outstanding alapana of Malahari. Slowly begun, immersed in its beauty, paced up with some bhriga-laden phrases to some commendable effect. Srinidhi tried to emulate this with some interesting finger-bow play. He repeated same later for latangi alapana as well. While it had some impact to the alapana , aesthetically it wasn’t very pleasing. Luckily he did not try this during kedaragaula alapana.
Irayimman Thampi’s composition in sanskrit is beautiful. Whoever has set this to tune in malahari has done a phenomenal job. Dileep sang this with much elan bringing tears of joy and since last evening only this kriti is singing in my ears. He continued with another rounds of swaras, in the same tempo , extending the overall feel of the kriti till the end. After he concluded the kriti with a few repetition of ‘kamala nAbha’ , there was a split second of silence before the hall erupted to a thunderous applause. Many wanted to know the name of the composer and the raga.
Without much delay , he launched himself into another exquisite alapana of latAngi. A similar pattern of starting slow and ramping up with some fast paced ( with each shake of his torso more sangati’s seems to be oozing out of this mouth) phrases, with some nice sojourn to the upper octaves, effortlessly executed. Apart from the ‘scratchy’ attempt to repeat some phrases of the vocalist, Srinidhi played a good latangi alapana. Patnam Subramanya Iyer kriti was to come with some good ,classical neraval and yet another round of impressive swaras in the higher speed.
A quick filler in devamanohari came in before the main. A refreshing choice of kedaragaula, listening after a long time. Another beautiful alapana from the lead singer and an equally impressive reply from the violinist. Srinidhi, in fact, started his alapana taking off at the pallavi and anupallavi phrase of saraguna palimpa and it indeed was the main kriti of the evening. A long neraval at manmatha janaka was in the traditional mould. There was grand, very long kalpana swaras sung in three phases. He seems to be going on and on with one idea after the other. Vadakara Anilkumar, playing for the first time in Bangalore did a brilliant job in percussion. Playing very subdued and to the songs and swaras he shows his mettle with a cracker of a tani avartanam.
Post main list is interesting to look at. One Kannada kriti, a Tamil composition, padam in Malayalam, mangaLam in Telugu and the shLOka in Sanskrit. The shlokam preceded the devarnama in tilang was awesome. Not heard many shlokams in tilang, but it was very well sung. A energy filled eppo varuvaro came in next. I think this composition with all that interesting bhrigas suits Dileep’s style of singing. Alarsara paritapam had to come, starting at ‘jalaja bandhuvumiha’ before the mangalam.
That malahari, still ringing in my ears and the kedaragaula alapana and swaras are enough for a week. I might need to have an antidote for that malahari 🙂