Vocal : Saketharaman
Violin : Mysore Nagaraj
Mrudangam : H S Sudheendra
Ghatam : Ranganatha chakravarthy
(assuming I missed first 2 items )
03. abhimAnamennaDu – bEgaDa – Patnam Subramanya Iyer ( A?, S)
04. niravadhi sukhadA – ravichandrika – Thyagaraja ( O )
05. munnu rAvaNa – thODi – thyagaraja ( A,N,S,T )
grahabhEdam to mOhanakalyANi, sAramati?
neraval at ‘rAjarAja virAjavAha ravikulajAbdhi‘
svara @ ‘ravikulajAbdhi’
06. idu bhAgya idu bhAgya idu bhagya vayya – dEsh – Purandara Dasa ( O )
07. RTP – ranjani mAla – sankeerNa jAti triputa x 2 kalai , 7th beat eduppu
alapana – ranjani , srI ranjani, janaranjani, karNaranjani
tAnam – ranjani , srI ranjani, janaranjani, karNaranjani
pallavi line ” ranjani manjubhASiNi, pAvani shrIranjani, janani janaranjani, pAhimAm karNa -ranjani…
swaras in ranjani , srI ranjani, janaranjani, karNaranjani + sumanEsaranjani , manOranjani,shivaranjani
08. tirupati venkaTa ramaNa – hamsAnandi – Purandara Dasa
09. mannipugazh kOsalai – rAgamAlika – Azwar
10. thillAna ( dhIm tadara tAni) – rAgEshrI – Lalgudi Jayaraman
A fabulous thodi, outstanding. An excellent ranjani mala pallavi. That’s all that matter and needed to remember this concert for. I still have goose bumps. Phenomenal stuff with thodi. First of all, he did not start his alapana in the usual style, the cliched often heard, a path beaten umpteen times. I am not against that, but the way Saketharaman begun his thodi alapana was very refreshing. Thodi is one such raga, one can explore and build numerous paths and forays as one experience and progress. Through out his alapana, that is what he did. Many many unique phrases through out among the standard, comfortable, classical ones that one is familiar. Clever shruti bhedams to mohana kalyani and saramati ( I could be wrong here, corrections welcome), executed with ease and measure. All the traditional multi speed, multi octave singing the fast ‘akara’ phrases as one would expect. This thodi was outstanding stuff. Mysore Nagaraj played equally brilliant, including the shrutibhedams and some of those impressive phrases Saketharaman sang. Selection of munnu rAvaNa itself was grand. Very well sang. Neraval was grand and pretty long culminated with the traditional fervor in higher tempo. Kalpana swaras were another hall mark. The typical two speed variation gathering the speed and excitement. The overall exhilaration it created in the hall was evident. He did the shrutibhedam (swarabhedam?) during the swaras too, but only to mohanakalyani.
Ranjani mala pallavi was the other highlight. When he paused and allowed Nagaraj to play after a short alapana of Ranjani, I smelled what is in the offing. The first thought was a repeat of S Kalyanaraman’s famous pallavi. While Saketaraman, did something similar, did not replicate the same. Each alapana lasted around 2 mins. Nagaraj’s return was very impressive and probably more appealing. Tanam followed the same pattern. Tanam of ranjani and karnaranjani stood out for me. Pallavi line isn’t all that great but was effective in a complex tala + eduppu with changing the ragam after each pause. He sang a few combination with two ragas in stretch for a while with different grouping. There was trikalam, which I thought was done very well. Standard swaras were sung in each raga in sequence, and a few combinations before switching to ragamalika swaras with few more ranjanis. Sumanesaranjani swaras were the best, closely followed by manoranjani. Nagaraj was in his top form here, playing some exquisite swara forays. I am usually moved by shivaranjani, but yesterday it did not appeal to me much. Not comparing this with the legend, but this too was excellent.
Let me not talk about anything else. I reached the venue late from office and a classy begada greeted me. Some fast paced swaras were nice. He then sang a niravadhi sukhada in a break neck speed, which wasn’t all that great. Again, it reminds me of S Kalyanaraman. In general , I see Saketharaman sings in a slightly faster kalapramanam. But, today I am not looking at all those. The thodi is still lingering in my ears.