Vocal : Kunnakkudi M Balamuralikrishna
Violin : Vittala Rangan
Mrudangam : B C Manjunath
Ganjira : G Guruprasanna
01. chalamEla jEsE ( varNam) – nAtakurinji – Rangaswamy Nattuvanar ( O,S )
02. shrI pArvati paramEshwarau – bhauLi – Dikshitar
03. birAna brOva idi – kalyANi – Tarangampadi Panchanada Iyer ( A,N,S )
neraval & swara @ ‘ nI pada pankajamu neranamminavAda’
04. marivErE gati – Anandabhairavi – Shyama Shasthri ( O )
05. ninnADa nEla – kannaDa – Thyagaraja ( S )
06. rAma bAna trANa shaurya – AvEri – Thyagaraja (A,S,T )
07. RTP – brinAvana sAranga – trishra jhampa , khaNDa gati , samam eduppu
tAnam in brindAvana sArang, varALi, chandrajyOti?, madhuvanti?
pallavi line ” manam koLLai koNDa kaNNA, maNivaNNA en- ”
No rAgamAlika swaras
08. narajanma bandAga – madhuvanti – Purandara Dasa
09. tirupugazh ( Erumayil) – rAgamAlika-
10. mangaLam – saurAStram , madhyamAvati – Thyagaraja
Brilliant concert with rich, energetic and engaging musical fare by the young vidvan at Nadasurabhi yesterday. I haven’t heard him for a long long time and how strongly has he reemerged to the scene. Very strong SSI school effect in the way he presented the kritis and in the swara prasthana. Only the other hand very distracting and overtly expressive hand and facial gestures and the tendency ( we see in most of the young artists) to rely on speed and verve to add exhilaration.
Two distinct features of this concert which attracted me. One the way he approached alapanas. While Kalyani was just good, both sAveri and brindavana sarang were out standing. Saveri was started at very slow lower octave phrases and superbly build to some awe inspiring higher octave ‘sancharas’, getting into the ati tArasthayi range. He probably would have covered all three octaves from lower sA to the upper sA with ease ( a bit falsetto at the very very high range though). The dwell at the ati tArasthayi range for a considerable amount of time. And it was not just the skill that he exhibited, but the wy he went about the whole alapana phase for saverri was excellent. Similarly, in brindavana sarang alapana, the focus was on parleying some delectable hindustani-ish passages, which he did with some incredible effect.
The other one was the way the kalpana swaras were sung. Both for kalyani and saveri he made it interesting by deploying some impressive variations in the nadai in the initial phase or the two speed kalpana swara. The others too were noticeably had the stamp of SSI-PSN stamp all over. Great stuff.
Speed was the essence in general, but he can switch back to the slow kritis. Marivere was sung with such effortless, unhurried way as one would love to hear that song. A tempo that can be compared to the way TMK sing this kriti. Some impressive selection of other pieces in bhauli and kannada. Pallavi had tanam in ragamalika, decently coined pallavi line and tala structure. Well executed trikalam as well.The supporting crew were equally good, measuring up to the main artists. Vittala Rangan was once again very very impressive. The percussion duo too added their flavour to the concert, apart from playing a commendable tani avartanam.
Absolutely dull and not innovative post main kritis. One can give the benefit of doubt to the time, but I am a strong supporter of planning the post main/pallavi pieces in a concert. Most often, we see this section is taken for granted and artist decides to get it over with a customary devarnama and quickly winding up.
Not taking any credit away from the young vidvan for presenting a brilliant concert yesterday.