VocalGu : Ramakrishnan Murthy
Violin : Charumathi Raghuraman
Mrudangam : Anantha R Krishnan
Ganjira : Guruprasanna
01. shLOkam ( sadguru gajAsyavANim) – kalyANi
vanajAkshi ninne kOri (varNam) – kalyANi – Pallavi Gopala Iyer
02. tuLasIdaLamulacE – mAyAmALavagauLa – Thyagaraja ( N,S )
neraval & swara @ ‘sarasIruha punnAga champaka pATala karuvaka’
03. idu bhAgya idu bhAgya idu bhAgyavayya – bilahari – Purandara Dasa ( A,N,S )
neraval & swara @ ‘vasudheyoLu purandara viThalana nAmava, hasanAgi nenenenedu sukhiyAgabEku’
04. mAyamma yeninE – Ahiri – Shyama Shasthri
05. brOva bhArama – bahudhAri – Thyagaraja
06. mAmava pattAbhirAma – maNirang – Dikshitar ( A,S,T )
07. R T P – pUrvikalyANi – mishrajAti tripuTa x 2 kaLai , eduppu at +3/4 ??
pallavi line ‘ dasharathabAla rAmabhadrayya, dayAnidhE’
rAgamAlika swaras in aThANa, kuntaLa varALi,varALi,____, behAg, suruTTi
08. shLOkam ( ay muraLi mukunda smEra) – kApi , hamsAnandi, sindhubhairavi
rAmanai taruvAi jagad rakSaka – sindhubhairavi – Arunachala Kavi
09. tiruppAvai ( vangAkaDal) – suruTTi – Andal
10. shLOkam (mangaLam kOsalEndrAya) – suruTTi
Another top notch concert by Ramakrishnan Murthy at the Seshadripuram College Grounds, yesterday. Pallavi probably was the low point of the concert, otherwise it was musically and in selection of composition was very impressive.
There was a slight strain in his voice, which was a mild irritant. But it did not seem to trouble the artist in any way. On a listener’s part, I wish and pray that he take care of his voice as his music is precious and we need him to enthrall us for many many more years. The accompanying artist measured up to the main artist and it was a delight to see some of the work done by them to enrich the experience. Charumathi, especially, was very very impressive. Nice bowing, clear tonal quality, nice mannerism, good sense of proportion. Anantha can add a lot to the overall uplift of the concert. He with able supporting percussionist did some commendable job. I loved the initial few touches he did for the ahiri song. The percussion duo had two opportunities to show case their mettle. First one for mAmava pattAbhirAma, which was good but wasn’t measuring up to their caliber. However the second, post the pallavi, was of shear brilliance. Some nice intricate patterns for a mishra triputa tALa was delectable.
Back to the main artist. Nice, brisk varnam in kalyani to start the proceedings. Beautiful mayamalavagaula with some classy neraval at sarasiruha punnaga. Very well detailed and delivered, followed by some very impressive rounds of kalpana swaras. First alapana of the evening in bilahari. Ramakrishna Murthy started in such a wonderful way, but some how did not have the same impact for the rest of the alapana. However, Charumathi played a beautiful alapana. I was humming ‘intha kannAnandamEmi’ through out the alapana, but to our surprise, he sang a dasara pada, which is tuned in similar lines. To his credit, his diction was impeccable. Each words were clearly heard. Brilliantly selected neraval line, singing the first line for most part of the early stage and extending it to the complete line ( appropriate for the completeness of meaning). The kalpana swaras in two speed was equally good.
Two fillers of little impact , before the main. Somehow the ahiri kriti sounded a bit different. Anantha was a treasure to listen here. Bahudhari was good, hoped for a quickfire swaras to set the stage for a leisurely main. Manirang alapana was far better. His deliberations at the short mandra and madhya sthayi phrases were a beauty. Charumathi was good in her return too. Predictably, it was mAmava pattAbhirAmA. To me it was a dedication, marking my return from Sri Lanka ( albeit not triumphantly as Rama). This reminded me of an outstanding manirang witness at the same venue by TMK 6-7 years ago with a mesmerising neraval at ‘chatra chAmara’ ( goose bumps). RKM sang the kriti very well, but there was no neraval. He did cover it up with some awesome swara singing. I loved the split swaras at two places.
There was a real-time review of the concert by the organisers during the felicitation. Luckily, they wound it up pretty fast. RKM started a shortish pUrvikalyAni alapana with a clear intend of a pallavi. Tanam fared better. Pallavi was done with typical neraval style , but there was no trikalam. He sang a chain of ragamalika swaras and concluded it with a nice rollback through all those ragas with such an ease and pleasure.
There was enough time for a ragamalika shlokam followed by a sindhubhairavi composition and a tiruppavai. He extended the tiruppavai to a shlokam in the same ragam to conclude the concert.