Vocal : T V Sankaranarayanan
Violin : T H Subramaniam
Mrudangam : Mannarkoil J Balaji
01. shLOkam ( gajAnanam bhUtagaNAdi ) -nATa
mahAgaNapatim manasA smarAmi – nATa – Dikshitar ( S )
02. nIvE nannu brOva – darbAr – Walajpet Venkataramana Bhagavathar ( S )
03. bArayya venkaTa ramaNA – sAvEri – Purandara Dasa
04. samAna rahitE – sArangatarangiNi – G N Balasubramaniam ( A,S )
05. padmanAbha pAhi – hindOLam – Swathi Thirunal ( A,S )
06. kandan enra pEril – kAmbOji – Sundararaja ( A,N,S,T )
neraval & swara @’aruLvaram tEDi vandEn pannaga shayanA marugA murukA guhA?’
07. aparAdhamulanOrva – rasAli – Thyagaraja ( A,S )
08. RTP – ranjani – chaturashra tripuTa x 2 , +3/4 ( 6 akshara) eduppu
muraLIdhara madhusUdana mukundA | mAdhava murArE
rAgamAlika swaras in behAg & dEsh
09 viruttam ( nambanE ? ) – hamsAnandi , rEvati
nInE doDDavanu – rEvati – Purandara Dasa
10. eppO varuvArO – jOnpuri – Gopalakrishna Bharati
12. mangaLam – saurAStram – Thyagaraja
jayamangaLam – suruTTi
Stupendous ! Super class concert. Pure vintage stuff. Spell binding. I can go on and on with adjectives. 3 hrs of uninterrupted outstanding music. There is no point in picking up individual pieces. He was in his elements. Often reminding us on his Guru, by referring to his name or through the music. At the end, acknowledging the response from the audience ( a standing ovation), he sad he was able to connect with the listeners here and that gave him the strength.
From the first nata kriti, where he sung some fabulous swaras, a shear variety from the usual swaras I am accustomed to listending, I was hooked. The responses from T H Subramaniam was subtle and as memorable as the main artist. A darbar kriti of Walajpet Venkataramana Bhagavathar and a saveri devarnama came in quick succession. He announced he is going to sing the GNB composition in sArangatarangiNi, after explaning its arohana /avarohana phrases. Samana rahite, registered in my mind and hence the alapana was enjoyable. T H started his return with a few ‘hamsanadam’-ish phrases. TVS came to the rescue, stating the difference between the two ragams are the ‘dhaivatam’. However, TVS’ alapana did not give any glimpses of hamsanadam. TH Subramaniam, later played some impressive phrases. Samanarahite was good with few rounds of kalpana swaras added at the end. Hindolam alapana was at a different style. I was told that he largely played keeping the ‘madhyamashruti’ ( there was no correction to the shruti box). Padmanabha pahi was again a good choice with another rounds of impressive swaras.
I’ve near 100% hit rate with kAmbOji as main in a TVS concert ( I think once I was lucky to hear Sankarabharanam and another with kApi). Typical MMI school alapana flowed, of pure classical fair. Even after listening to this umpteen times, it has not lost its sheen and charm. THS was again briliiant. I was speculating between mA jAnaki and maragata vallim, but he chose to sing a not so common kriti ‘kandan enra pEril’. Later he clarified this as a composition of ‘Sundararaja’. A superb detailed neraval and ever impressive kalpana swaras added to the overall class. Accompanying artist was in super form in supporting the main artist.
He started the alapana in rasAli, stopped and explained this as one of the favorite of his uncle. For once, I thought he is going to sing a pallavi in rasAli, but it wasn’t the case. Alapana was short and TH Subramaniam played beautifully in his turn. Again a few rounds of swaras added to the song.
Having come here at Ranjani Fine Arts, he said, ranjani has to be sung and he is going to do a short pallavi. Another brilliant alapana by both the artists. Tanam was equally good. He sang some ‘Anandam tA, anantam tA, dhanam tA, dAnam tA’ sequence in the middle ( thanks to Mouli for bringing this to my notice). Not a great pallavi line, and no innovative tala structure, but the overall pallavi was pretty good. No, detailed trikalam. He seems to contemplate on what to sing for ragamalika swaras before coming up with very good behag and desh. T H Subramaniam was fantastic here. Post pallavi had a beautiful viruttamm in hamsanandi and revati before the devarnama. En energetic eppo varuvaro and the Notes came before the mangalam, which lasted nearly 5 mins.
One should recognize and appreciate the contribution of the supporting artist on the stage. TH Subramaiam was outstanding. He not only played along superbly, but some of his ‘volleys’ were mesmerizing. He had a solo concert at Ananya on Friday, which i missed, but he impressed one and all. Mannarkoil Balaji was equally good, non-intrusive. He played an excellent tani avartanam. For the rasali song, TVS stopped and said this is how the legend Subramania Pillai play for the pallavi line. A concert to remember for a very long time.,