Vocal : V R Dileepkumar
Violin : Mathur Srinidhi
Mrudangam : B C Manjunath
Ghatam : S N Narayana Murthy
01. erA nApai (varNam) – thODi – Patnam Subramanya Iyer
02. ninnu jUci – saurAStram – Patnam Subramanya Iyer ( O, S )
03. tAyE tripurasundari – suddha sAvEri – Periyasamy Thooran
04. E rAmuni – vakuLAbharaNam – Thyagaraja ( A,S )
05. sarasa sAmadAna – kApinArAyaNi – Thyagaraja ( N,S )
niraval & svara @’hitavu mATalentO bAga balkitivi
06. kAmAkSikAmakOTi pIThavAsini – simhEndramadhyamam – Dikshitar (A,S )
07. evari mATa – kAmbOji – Thyagaraja ( A,N,S,T )
niraval & svara @”bhakta parAdhInuDanucu parama-‘
08. alarshara paritApam – suruTTi – Swathi Thirunal
09. eppO varuvArO – jOnpuri – GKB
10. mangaLam – saurAStram – Thyagaraja
mangaLam kOsalEndra (shLOkam ) – madhyamAvati
For last 3-4 years, he comes to Bangalore once an year to perform. The last one was at Ranjani Fine Arts , exactly an year ago. The memories of that concert still linger,and hence the anticipation was high. That is exactly what was delivered. Everything that was elaborated was a treat.
He started with a brisk varnam in thodi, setting things up with the rest of the crew on stage. Most of the initial adjustments were done by then in terms of amplifications and feedbak and that helped in the smooth flow of the concert from there. He continued with another Patnam kriti in saurashtram, with few rounds of impressive kalpana swaras followed by a quick and fast thaye tripurasundari. I liked the chittasvaras in the composition and the way they were presented.
Vakluabharanam was the first alapana to come done in very impressive way displaying its ample scope and his capabilities. It had to be E rAmuni, which followed by yet another rounds of cracking kalpana swaras with some great perussion support. Sarasa sAmadAna that followed was shear joy to listen. Singing in a little slower tempo, from the usual fast paced one. In the given context and poise of the concert until then, this made a lot of sense and brought out some intrinsic beauty of the kriti. The neraval was also done at the same speed, toying with the words hitavu and mAtalentO to some nice effect. Yet another great kalpana swaras to follow.
Simhendramadhyamam alapana that followed had some of his characteristic bhriga laden passages. Started with some brilliant low octave phrases for a long time before gradually progressing to the middle and higher octave increasing both the tempo and length of those phrases. Mathur Srinidhi replicated most of those and stayed very close to the lead artist through out the evening. Dikshitar’s masterpiece was sung with a lot of gusto and class. Impressive kalpana swaras was again followed.
There were no short pieces of those ‘fillers’ to ease himself. A fabulous kAmbOji was to come and what a treat. Everything one can think of was presented, awesome alapana by both vocalist as well as the violin, good choice of a kriti which offers sufficient scope of singing, brilliant neraval with some great accompaniment and an outstanding swaraprasthana. The kalpana swara part itself was nearly 20 mins and it seems that he was willing to go on and on. Electrifying atmosphere. B C Manjunath, who played so well through out the day livening the concert with his assistant, played a fitting tani avartanam. I loved some of his ‘left hand play’ producing some great structural combinations.
I had the privilege, on the insistence of the Secretary against my comfort :-), to honour the artists on the stage. I am thankful to Nadasurabhi. Post main was quickly concluded with a Swathi Thirunal padam and eppo varuvArO.
Blissful evening. A kAmbOji to remember for a log time.