Vocal : Sandeep Narayan
Violin : Mathur Srinidhi
Mrudangam : K U Jayachandra Rao
Ghatam : G Omkar Rao
01 mahA gaNapatE pAlayAshumAm – naTanArAyaNi – Adi – Dikshitar
02 nAda tanumanisham – cittaranjani – Adi – Thyagaraja ( A,S )
03 saundararAjam AshrayE – brindAvana sAranga – rUpakam – Dikshitar ( A )
04 kAdiruvEnu nAnu – ranjani – Adi -Ambujam Krishna ( A,N )
neraval @ ‘pAdAmbujagaLa pUjeya mADi ‘
05 mahAlakSmi jaganmAtA – shankarAbharaNam – mishra chAp -Papanasam Sivan ( A,S,T )
06 ninnayE ratiyenru – bhAgEshrI – rUpakam – Subramanya Bharati ( O )
07 mayilmIdu viraindODi – cArukEshi – Adi – ?? ( o )
08 candrashEkharA Isha sundarEshvara – sindhu bhairavi – Adi – Anai Vaidyanatha Iyer ( O )
09 thillAna ( tAm tAm tAm udani ) – khamAs – Patnam Subramanya Iyer ( O )
10 mangaLam – saurASTran – Thyagaraja
Brilliant concert by the young vidvan yesterday at Nadasurabhi. He sang with such an elan, composed and in control. Despite some of his mannerism and singing style which regularly reminded us about his guru, he was on a roll.
Very sedate start with the natanarayani piece, which has a folkish tune to it, was a great way to get in. Both on the pallavi line and the ‘ragamudra’ line, he sang ample sangatis, which I liked. Chittaranjani alapana was top class. Gave the hint by singing the ‘sarigamapadhani’ phrase of the composition in his alapana. Not heard many chittaranjani full alapana in concerts, hence it indeed was welcome. Other impressive of his singing ‘nAda tanumanisham’ was at the anupallavi. He sang with the break at ‘mOdakara nigamOttama’ unlike ‘ nigamOttama sAma’ as many artists sing. Very good. Some good rounds of kalpana swaras followed at the pallavi line. The concluding round by both the artists, I thought, were superb.
A fabulous brindavana saranga alapana started soon. Surprised to see two janya of kharaharapriya back to back. Of course, they have different feel and musical beauty. Brindavana sarang alapana was mesmerising . Srinidhi was equally aswesome in his turn. Full marks. The composition was sung with all it grandeur. To me, this was the best part of the concert.
A rather shortish ranjani alapana followed ; decent with some of the standard phrases. Srinidhi tried some innovative strokes. Amubjam Krishna’s composition was nice. HE sang a compelling neraval at pAdAmbujagaLa pUjeya mADi’ with some nice twists and turns. Good work here. There was no swaras.
Soon, a detailed shankarabharanam alapana started. The way it was progressing, it was evident that he is not taking up some of the well known compositions. Very good effort in alapana, little to and fro, odd phrases of class, some impressive longer phrased upper octaves. Srinidhi played much more standard shankarabharanam. Mahalakshmi Jaganmata was a nice choice , even though I was expecting a Shyama Shastry composition to come. There was no neraval ;surprising on two counts a) There was only one neraval in the entire concert b) he did not sing a pallavi. Kalpana swarams are mostly done as two long takes, one at the lower speed and one the shorter phrases at the faster tempo. The repeats from Srinidhi was equally eloquent. Jayachandra Rao, who did a commendable job through out the evening, played a structurally intricate tani avartanam with Omkar.
There was no pallavi, but sang couple of songs and a requested thillana. He sang all of them after a short raga sketch. Some good team play, triggered by the vocalist in the khamas thillana was nice change.
His powerful voice, open throat style of singing, command over lyrics and laya etc are the highlights of his singing. Yesterday’s concert was no different. Hope to see and listen to him more in Bangalore.