Vocal : Bellary M Raghavendra
Violin : Mathur Srinidhi
Mrudangam : Tumkur Ravishankar
01. taruNi ninnu (varNam) – kAmbOji – Fiddle Ponnuswamy
02. gam gaNapatE namO nmO – hamsadhwani – Muthaiah Bhagavathar ( short sketch,S)
03. sItamma mAyamma – vasanta – Thyagaraja ( O,S )
04. shankari sadAnanda lahari – mALavi – Jayachamarajendra Wodeyar
05. dhanyuDa vaithini(?) shrI thyAgarAjuni – vAchaspati – ?? ( A,S )
06. hari bhajanamE jIvanamu – sAma – ?? ( O )
07. kAyalAdenO krishNa kaNDavana? – hamsAnandi – Purandara Dasa
08. AnjanEyam upAsmahE -thODi – Bellary Seshagiri Achar ? ( A,N,S,T )
neraval @ ‘ tAraka manthOpAsakam shrIrAma hrdayE nivAsam ‘
09. RTP – kAmbOji – tisra triputa x 2 kaLai , 1/2 from samam
pallavi line ‘ Ananda naranam ADinAr , tadimi tadimi enru kanaka sabhayil’
swara in kAmbOji , no ragamalika swaras
short tani avartanam
10. thillAna ( dhim ta dhina dhiraNA tana dhiraNA) – kuntaLavarALi – ?
11. mangaLam jayamangaLam – madhyamAvati – Purandara Dasa
Very good concert by Sri Bellary Raghavendra on many counts. Powerful voice, even at the high octave, which he frequented regularly both during the alapana and swaras, the throw of voice was untiring and very appealing. Not a hint of falsetto, no slips of sruti even at the high speed swaras or alapana. Secondly, his selection of kritis and raga. Many new ones to me. Brilliant alapana for Vachaspati and kAmbOji. Very good kalpana swaras through out.
Concert started with the regularly taught and rarely sang kamboji varnam, slightly longish one. Muthaiah Bhagavathar’s hamsadhwani kriti came in with some outstanding swara kalpana, show asing what is to expect for the rest of the evening. Another quick rendition of sitamma mayamma came in. I was little uncomfortable with this speed of singing. Not sure if it has any GNB influence. Personally prefer a little slow on this. Few rounds of swaras came in break-neck speed, but was impressive. A rare mALAvi kriti of Jayachamarajendra Wodeyar came in soon.
Apart from a short sketch of hamsadhwani there was no alapana until now. And here comes vachaspati. Beautifully executed alapana from Sri Raghavendra and an equally impressive return from Srinidhi. Another unknown kriti came in again. There was no neraval but was another commendable rounds of swaras. A beautiful sAma kriti was sung. What was impressive about this was the very nice sangati for the pallavi line when it was repeated after every charanam. A hamsanandi devarnama was the filer before the main.
Thodi alapana had all the standard phrases, meticulously and impressively delivered with ample excursion to the higher octaves with some great impact. Srinidhi played a sedate thodi in his turn. Anjaneyam upasmahe, I think, is his ‘chittappa’s composition. Musically very appealing, not so sure about the lyrics. Detailed neraval and fitting kalpana swaras for a main. Tumkur Ravishankar, handling the percussion department alone, did a commendable job through out, and played an elegant tani avartanam post main.
A pallavi was announced and it was kAmboji, the same as the varnam. Brilliant alapana by both followed by a good, albeit short, tanam. No real testing talam or gati variations, but the team sang a brilliant pallavi with splendidly executed trikalam. Kalpana swara was limited to kamboji, there was no ragamalika swaras. Concert came to a close very soon with only a thillana before the mangalam.
Many a kritis are new to me , probably a few of them are composed by his guru. Despite the general unfamiliarity of the kritis, the concert was very enjoyable.