Violin : H K Venkatram
Flute : G Ravikiran
Veena : Aswin Anand
Mrudangam : Karaikkudi Mani
Ganjira : Guruprasanna
01 pArvatipatim praNaumi satatam – hamsadhwani – Dikshitar ( S )
02 tyAgarAja yOga vaibhavam – Anandabhairavi – Dikshitar ( O )
03 shObhillu saptasvara – jaganmOhini – Thyagaraja
04 shiva shiva shiva enarAdA – pantuvarALI – Thyagaraja ( A-veena,N,S )
neraval&svara @ Agamamula nuDiyinci
05 dattAtrEya trimUrtirUpa – ranjani – Ganapathi Sachidananda ( A – Flute)
06 svararAga sudhA – shankarAbharaNam – Thyagaraja ( A,S,T )
07 shiva darushana namagAyitu – madhyamAvati – Purandara Dasa
08 thillAna – mOhanakalyANi – Lalgudi Jayaraman
09 mangaLam – saurAStram – Thyagaraja
My first concert for the year, and I mentioned this to Sri H K Venkataram, as I met him before the concert. Expectation was huge with Sri Karaikudi Mani on percussion. I’m definitely pleased in the end. Some beautiful music from the trio with an expected percussion upliftment from the maestro.
Started late from the announced time, after an impressive dance performance and around twenty minutes of tweaking the various system to perfection. Sri Karaikudi Mani wasn’t happy with his instrument tuning despite that, and made a switch to a different one during the concert. Concert started with a brisk hamsadhwani, which I initially thought was ‘ vande anisham aham vArana vadanam’, but was corrected by the artist. Some cracking swaras followed after the kriti presentation. A sedate Ananda bhairavi and a quickfire shobhillu came in in quick succession.
Aswin Anand played a brilliant pantuvarali alapana before a predictable shiva shiva shiva enarAda. Neraval at agamamula and good rounds of svarams to conclude the first detailed piece. Ravikiran played a short and nice ranjani followed by ‘dattatreya’, written by Ganapathi Sachidananda ( who, infact was the Guru of Karaikudi Mani) and was set to tune and popularised by KVN.
Venkatram played an elaborate shankarabharanam , in the more familiar and time tested patterns. Couple of impressive takes or ‘aha’ moments in a well conceived alapana. I was expecting an ‘akSayalinga vibhO’ or ‘sadAshivam upAsmahE’ , befitting the occasion, but they chose to play ‘swararaga sudha’ instead. There was no neraval but the swaras that followed was fabulous. Some nice laya variations for the ‘old time favourite’ patterns was very appealing. I thought Karaikudi Mani came into the fore at the Shankarabharanam. Some of his finger works for the kriti were mesmerising. As expected and eagerly awaited, the tani avartanam was of shear beauty. What variations and structures that was brought out by the master, which was duly complied with by the supporting artist in ganjira. Class act.
Sri Karaikudi Mani spoke at the felicitation time, which he usually avoid. He mentioned being part of the very first Venu-Veena-Violin conert around 35 years ago featuring N Ramani – Venkataraman and Lalgudi Jayaraman. He also spoke about the ‘mridanga shaileshwari temple‘ in Kerala, the only temple any where in the world for a percussion instrument. He said, the temple is not known to many people and he on his part is trying to offer a ‘golden mridangam’ to the temple and seek the blessings of the rasikas.
Concert concluded with a devarnama and a thillana. The first concert for me in 2017 and I am definitely very happy