Vocal : Bharathi Ramasubban
Violin : Vittala Rangan
Mrudangam : N C Bharadwaj
Khanjira : Sunaad Anoor
04. I vasudha nI vaNTi daivamu – sahAna – thyagaraja ( A,N )
niraval @ ‘ dAsavarada thyAgarAja hrdaya nivAsa cidvilAsa sundarEsha’
05. shrI soundara rAjam AshrayE – brindAvana sAranga – Dikshitar
06. vElayya dayavillayA – sAvEri – Koteeswara Iyer
07. kaNDEnA uDupiya krSNarAyanA – kAmbOji – Purandara Dasa ( A,N,S,T )
niraval & swara @ ‘ purandara viTThalana padakamalava kaNDE ‘
08. viruttam ( cIDiyAya valvinaikaL tIrkkum ?) – rAgamAlika –
pAsuram on ‘tiruvenkatamudayan’ ( not sure of the words) – rAgamalika – Thirumangai Alwar
09. kahAn kE pathIk kaha kinhO hai gamanvA – junjhutti ?? – Tulsidas
10. karuNajUDu ninnu namminA – shrI – Shyama Shasthri
11. mangaLam – saurAshtram – Thyagaraja
Second day of the 4 day Feb festival of Nadasurabhi. Having missed the day one, I wanted to catch up on the new generation artists on the stage, however late it was. Bharathi Ramasubban, a name I heard a few times but never listened before, was accompanied by two of the winners of the last ‘kalavanta’ and an important prospect in percussion.
I entered as she was starting her sahana alapana. I presume, there were a couple or more of pieces before I reached the venue. Sahana alapana was just ok, nothing to really impress one, probably I was just settling in and wasn’t in 100% receptive frame of mind. Vittala rangan’s return was in similar lines. The kriti ‘ee vasudha’ was sung very well. The niraval at ‘dAsavarada’ was very impressive. Dikshitar’s ( or is it ?) brindavana saranga kriti and Kotteswar Iyers saveri compositions came in quick succession, with our a gap. Both the kritis were presented very well.
Kamboji alapana started at a medium tempo, but with short phrases to begin with. She did a commendable job, with a few catchy phrases. Vittalarangan did a good job too. He might have to get his proportion right, in line with the duration of the main alapana. I found it too long for sahana as well. Bharathi brought in a huge surprise by taking up ‘kandena udupia krishnarayana’ as main piece. That was a great jolt and made me take notice of the singer little more attentively. By then one could see changes in her body language and command over the proceedings. Set to mishra chapu, I liked this version very much. I havent heard a kamboji version before, only the one set in behag. The place taken up for niraval was equally good. Niraval was fairly long and brilliantly executed. It clearly was the high point of the concert to me. A good two speed kalpana swaras was added at the end of niraval.
Bharadwaj and Sunaad played out a good tani. Bharadwaj was very good, especially while accompanying for the kritis. Very good use of the left hand. The right volume was very low, to really make a remark. Apart from a a small faltering towards the end of kamboji swaras, he made a good impression. Sunaad Anoor supported competently.
Post main is noted for the viruttam and pasuram she sang in ragamalika (did not take note on all the ragas) and the Tulsidas bhajan. A selection of young artists presented a good concert yesterday.