Tag Archives: Gayana Samaja

Sanjay Subrahmanyan @ Spring Festival , Sri Rama Lalitha Kala Mandira at Gayana Samaja, 06 Feb 2018

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Morsing : Bhagyalakshmi Krishna


01. celimi kOri( varNam ) – gauLa – Adi – Veena Kuppiyer?

02. kanu koNTini – bilahari – Adi – Thyagaraja ( S )

03. ninnuvinA marigaladA – rItigauLA – Adi tisragati – Shyama Shastry ( A,N,S )

neraval & svara @ ‘ shyAmakRSNanuta bhakta paripAlanamu sEyuTaku’

04. annai jAnaki vandALE – sAvEri – Adi x 2 – Arunachala Kavi  ( A )

05. entha cheluvagE magaLu – yAgapriya – Adi – Purandara Dasa ( A )

06. shrI subrahmaNyAya namastE – kAmbOji – Adi  x 2 – Muthuswamy Dikshitar ( A,N,S,T)

neraval & svara @ vAsavAdi sakaladEva vanditAya’

07.  mAlOn maruganai ( viruttam) – SaNmukhapriya – Arunagiri Nathar

sharavaNabhava enum – SaNmukhapriya – Papanasam Sivan

08. RTP – jaganmOhini – mishra naDai

pallavi line ” ‘shivakAma sundari amba vandaruL, tandaruL’

rAgamAlika swaras in mukhAri, kalyANi, rEvati and dEsh

09 lALisidaLu maganA – dEsh – Purandara Dasa

10. mangaLAm – saurAStram – Thyagaraja

Yet again, despite reaching ahead of time, braving the evening traffic, I had to be contend with the ‘Balcony seat’. May be next time, I would take half a day leave and reach by 3:00 pm or so. The seats were largely occupied by the handbags and kerchiefs than human beings. So, alternately, I would send a proxy an hour early with my hand-kerchief. Is ‘denzo’ listening ? 5:45pm was the starting time and one would expect him to start at samam. But yesterday there was an ‘atheetha eDuppu’ by about 2 mins.

One couldn’t ask for more. 5 elaborate alapana, one master class of kAmbOji with a real heavy composition, a pallavi, a rare vivAdi in the mix. A fabulous evening of enriching music. A short gauLa varnam to start ( too short even to notice ; it got over in 3 mins) and a bilahari that followed, were just warm up stuff.  The game shifted with the reetigaula. He always sings that well, but I was super impressed with the return by Varadarajan. Good neraval and svaras to add to the brilliance. I have to say the same for sAvEri alapana too. Very good, and again Varadarajan was special here. Annai Janaki vandale was a surprise.

He started a vivAdi alapana and as we were deciphering the raga ( by successive elimination method  from gAngEyabhUSani to calanATa), he came to our rescue by announcing yAgapriya. 31st mELam, mostly known for Dikshitar’s kalAvatim kamalAsanayuvatim ( kalAvati as it is called in Dikshitar’s school – not to be mistaken with the other kalAvati of ‘ennaDu jUtunO’) . Impressive alapana especially from Sanjay followed with a dEvarnama. I notice this trend in his concerts for the last 3-4 years in Bangalore, where he sing one of the Dasa kritis upfront with an alapana and neraval / svara in almost all the concerts, not restricting them to the post main section, which I appreciate.

No fillers, as he started a classy kAmbOji alapana. I predicted a Dikshitar composition to follow and here comes ‘ShrI subramaNyAya namastE’. Awesome stuff by him and Varadarajan as they presented it with all its grandeur. Outstanding neraval, fitting kalpana swaras ( percussion was left wanting at times) for one  hell of an affair. Tani avartanam, to my pleasure was much subdued and done very well, a welcome change from him.

When he started the viruttam, I thought we are not likely to have a pallavi. But soon he started the alapana of jaganmohini. After a grand kAmbOji, this couldn’t have bettered the impact on me. But, it was good nonetheless with some impressive ragamalika swaras especially the rEvati ( Varadarajan again steel my applause) and dEsh which is extended to the dEvarnama lAlisidaLu maganA.

For a change, the organisers did not want to interrupt. Upon Sanjay’s indication he came on to stage and made very  short proceedings of thanking the artists and announced the next days program. One saw Sanjay, contemplating and physically warming up and was thinking of a viruttam or thillAna to come which wasn’t there.

These days, it is very rare to get five detailed alapanas in a concert without compromising on other aspect of music. This calls for him planning and structuring the concert impeccably. If one has to make a template and tick the appropriate squares , this concert would have all those covered.  One wonder, how he manages to do this day after day, every concert across all the parts of the world.

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Posted by on February 7, 2018 in Uncategorized


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Ranjani & Gayathri @ Gayana Samaja 22nd Oct 2017

Vocal : Ranjani & Gayathri

Violin : H M Smitha

Mrudangam : Delhi Sairam

Ghatam : S N Narayana Murthy


01 vanajAkSa (varNam) – hamsadhwani – Adi -Manampuchadi Venkata Subbaiyer ( O )

02 sakala grahabhala nInE – aThANa – rUpakam – khaNDachAp – Purandara Dasa (O,S )

03 inta parAka nIkinta – mAyAmALavagauLa – rUpakam – Anai Ayya ( A,N,S )

neraval & swara @ ‘kaNNAtalli tanri sujanulanna tammu sati sutulE’

04 evaru manaku samAnam iLalO – dEvagAndhAri – Adi-Thyagaraja

05 shrI kAntimatim – hEmavati – Adi x 2 Dikshitar ( A,S,T )

06 niravadhi sukhadA – ravichandrika – Adi – Thyagaraja

07 RTP -hamsadhwani – khaNDa tripuTa x 2  +2.5or+3 eDuppu

pallavi line ‘dhwani, sad-dhwani,hamsadhwani.. nI nAdamE paramAnandamu

rAgamAlika swaras in kApi nArAyaNi, AbhEri, laLit(shrutibhedam to ShubhapantuvarALi)

08 abhang ( javu dEvachIya gava) – bhImplAs – Thukaram

09 mangaLam – saurAStram/madhyamAvati  – Thyagaraja

Inaugural concert of the 48th Annual Music Conference of Gayana Samaja. The hall was packed and over flowing. Having reached the venue 45 mins ahead of the schedule, we had to settle for the seats in the balcony. The influx of the fans continued well after the start time. A few plastic chairs was brought in, but the crowd continued to pour. Many had to sit on the floor, many moved into the stage and many stood through out the concert in the aisle. Heartening to see, such enthusiasm.

Concert was well planned and delivered and received with equal enthusiasm by the audience. Gayathri, was in super form through out. Her alapanas stood out for its variety and freshness. Her faster paced upper octave passages were delectable. The tanam was exquisite , so was the MMG neraval. So, if there is a ‘player of the match’ , it will go to her. HM Smitha played competently through out, her returns during the ragamalika were brilliant. Delhi Sairam was equally impressive.

Concert started with a brisk varnam in hamsadhwani. Nice atana piece before Ranjani sang the alapana for Mayamalavagaula. Good effort, and the selection of the kriti was more impressive. Neraval was top class,  especially from Gayathri. Good rounds of swaras continued. Nice little dEvagandhari kriti, not often heard these days was appreciated before the main.

Gayathri sang a detailed alapana for hemavati, with a grahabhedam to rEvagupti and it had to be Dikshitar’s master piece. No neraval , but an elaborate swara prasthana, which was very good. Delhi Sairam played an impressive tani avartanam, with some support from NArayana Swamy. A pallavi was in the offing. A quick ravichandrika found its way before.

Pallavi was probably the best of the evening. Beautiful alapana, especially the second part from Gayathri, outstanding tanam by all three and some cracking ragamalika swaras in the end. Pallavi line by itself wasn’t all that great, but it was structurally constructed well. Here again, Gayathri performed a shrutibhedam in the swaras from laLit to shubhapantuvarali. Overall a well executed pallavi.

There was no time left to sing all the ‘abhangs’ that was on request. However, the conceded to the request of the organiser and sang a shorter one, and concluded the concert.

The ‘Yellow brigade’ must be very pleased. They thronged the stage at the end. Guess, we are likely to see more of these ( of fan club banners, garlands to the hoarding, cheering etc) in classical concert in the coming days. So long as the quality of the delivery is maintained, there is no reason to complain.

One request to the organisers : When the hall is full, the place is very difficult to breathe. Personally I suffered nausea yesterday. Some thing needs to be done to improve the air circulation in the hall. This was an issue before, and it continued even after renovation.



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Posted by on October 23, 2017 in Uncategorized


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Sukanya Prabhakar @ Gayana Samaja 23rd Apr 2017 Thematic Concert on Jayachamarajendra Wodeyar

Vocal : Sukanya Prabhakar with Sumana Vedant ( daughter )

Violin : T S Krishnamurthy

Mrudangam : C Cheluvaraju

Ghatam : M Gurumurthy

Thematic Concert on Jayachamarajendra Wodeyar

List :

01  shLOkam ( shrIvidyAm jagatAm dhAtrIm) – hamsAnandi

shrImad chAmuNDEshvari (varNam) – hamsAnandi – Adi -Veena Venkatagiriappa ( S )

02 gam gaNapatE namastE – durvanki – tishra triputa – Jayachamarajendra Wodeyar

03 shrI jAlandharamAshrayAmyaham – gambhIranAtta – Adi – Jayachamarajendra Wodeyar ( A,S )

04  shLOkam ( shrIranga mangaLa nidhIm karuNA nivAsAm ) – kalyANavasantam

shrI ranganAtha pAhimAm – kalyANavasantam – mishra jhampa- Jayachamarajendra Wodeyar

05 sadAshivam upAsmahE – sarasAngi – Adi – Jayachamarajendra Wodeyar ( A,N,S )

neraval @ sadguru rUpadharam shankaram

swaras @ sarasAngArdhanArIshwaram

06  amba shrI rAjarAjEshwari – bhOgavasanta – Jayachamarajendra Wodeyar ( S )

swara @ ‘vikAra rahita vimalEshwari’

07 RTP – kIravANi – chaturashra triputa , 2 kaLai  1/2 Eduppu

pallavi line ‘shrI jayachAmarAja bhUpAlam smarAmi namAmi’

Swaras in kIravAni , no rAgamAlika swaras

tani Avartanam

08 shLOkam ( kara charaNa krtam vA kAyajam karmajam vA) – nAtHanAmakriya

shiva shiva shiva bhO – nAtHanAmakriya – mishra jhampa – Jayachamarajendra Wodeyar

09  shrI madyadukula vAridhi – rAgamAlika –  Mysore Vasudevachar ( sang as shLokam)

10 mangaLAm – saurAshtram / shrI – Thyagaraja

Absolutely fantastic concert yesterday evening by the Vidushi. I am so very happy that I decided to attend this over the venue just across the road. I was expecting a typical concert of compositions of the Royal Composer of Mysore, accompanied with necessary commentary.  What was so good was the way she separated the discussion on the composer and the concert itself.  She spent the first 15-20 mins on the composer and some of the intricacies of his compositions before getting into a full fledged concert.

She started with a brief introduction of the Royal Composer. Mysore royal family had been great connoisseurs of art and culture for many generations ( I guess she mentioned JCW was the 25th Wodeyars of the clan). Artists from various part of the country were invited and encouraged to perform and learn.  Born on 18th July 1919, he was the ‘adopted son’ ( there are some legends about this so called curse of the Mysore family) of Nalwadi Krishnaraja. He was introduced to music and culture at an early age. But he was more interested in Western Music and was an expert in playing Piano. It was much later he was interested in Carnatic Music. He learnt both Veena and Vocal under Veena Venkatagiriappa, later continued his training under Mysore Vasudevachar.

Jayachamarajendra Wodeyar has composed 94 kritis in total. Only kritia, no varnam, no thillana, no javali, no jati swara or any other forms of composition. All 94 are in Sanskrit, in which he was proficient, and were in 94 different ragas. He has created a few ragas and composed in those , eg durvanki, bhOgavasanta. He was a ‘srividya upasaka’ under the guidance of his guru, Sri Siddhalinga Swamy. All his composition as this as his ‘mudra’.

All his compositions have madhyamakala sahitya and rAgamudra, an inspiration from Dikshitar, and very well incorporated chittaswaras. He has also used a large variety of tala for his compositions ( 35 in total ) including a few complex ones like sankIrNa triputa anf khaNDa mathya.  64 of these compositions are on Goddess (dEvi) in various forms. 11 on Ganesha, 15 of them on Lord Shiva and 4 on Lord Vishnu.

To the concert….

She started her concert with a varnam ( first time for me) composed by his guru, Veena Venkatagiriappa. A 2 kalai, vilamba varnam in hamsAnandi, leisurely paced. Very interesting. The duo sang few rounds of kalpana swaras in the same speed.

Durvanki raga composition, probably only one in that raga, was the Ganesha kriti. His familiarity with western music probably influenced him here, as durvanki is a janya of shankarabharanam. She said the raga can have some similarity to sAma or mAND in some prayoga.

Gambheeranatta composition, popularised by MLV, was sung next. Daughter seemed to have nudged the mother with few takes of alapana, as Vid Sukanya took over from there and presented a short nice alapana. There was some rounds of impressive swaras too. Kalyanavasantam kriti was very nice. I loved the shloka she sang before the kriti.

Sarasangi was very detailed. Elaborate raga shared by the pair. Daughter was very very impressive with some absolutely beautiful phrases. However, it was sri Krishnamurthy blew me away. What a stupendous alapana he did. Outstanding stuff. Nice kriti, amazing neraval at sadguru roopadharam and equally classy kalpana swaras at the rAgamudra. This probably was THE BEST part of the evening.

As expected ( I was sure that she will sing this in the evening), she talked about bhOgavasanta. She said, until last evening she was thinking this is the only composition in this raga. Apparently, there is one composition by Periyasamy Thooran and one more ( she mentioned the name of some swamy, I couldn’t register the name). There was no alapana this time, she merely sang the mUrchana before singing the kriti.  I think, I’ve heard her singing a detailed alapana for this kriti in a Radio concert. But, there was some crispy swaras at ‘vikAra rahita vimalEshwari’

I was expecting a big kriti of Wodeyar as the main, but she chose to sing a pallavi composed for this occasion.  Nothing innovative or worth a word of the pallavi line, though. Keeravani alapana was again pretty nice. Violin was good too. He did a fleeting sojourn to hEmavati(?)  as grahabhEdam in his turn. I could see the artists glancing at the clock and nodding at each other. Tanam was short, Krishnamurthy played some delectable movements. There was no trikalam and the swaras were limited to the main raga, without any ragamalika exposition.

Post the customery felicitation and she sang the popular ( by MS) nathanamakriya composition followed by a ragamalika composition by Vasudevachar , in praise of Wodeyar. They sang it as shLOkam, and not as composition. Pretty good, nonetheless.

Few things impressed me last evening. One, the young vidushi. Vid Sukanya and Sumana sang in tandem, sat together and shared, be it  the alapana, neraval or kalpana swaras, among them. Sumana sang brilliantly through out. Two, Vid T S Krishnamurthy. He was brilliant through out the evening. His sarasangi alapana will remain in my memory for a very long time. Three, the way she presented the theme. She did not present it as a JCW compositions concert, but included the compositions of two of his gurus who shaped and formed the musical tastes of the Raja Composer. The pallavi created for the occation. The way she sang shlokam’s before the compositions. There were three in total, and I love them coming in concerts.  Cheluvaraju is the apt choice for such concerts. His non interfering way of playing mrudangam made a lot of sense. The essence of music is not submerged in the enthusiastic percussion noise here. Even his tani avartanam was a subdued affair.

Let me repeat, an amazing concert. It will remain in memory for a while.

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Posted by on April 24, 2017 in Uncategorized


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Abhishek Raghuram , RLKM Spring Festival @ Gayana Samaja 06 Feb 2015

Vocal : Abhishek Raghuram

Violin : Charulatha Ramanujam

Mrudangam : Anantha R Krishnan

Ganjira : Guruprasanna

List :

01  karuNimpa ( varNam ) – sahAna – Thiruvottiyur Thyagayya ( O )

02  duDukugala – gauLa – thyagaraja ( O )

03 entarANi tanakenta pOni – harikAmbOji – Thyagaraja ( A )

neraval & swara @ ‘ shESuDu shivuniki bhUsuDu lakSmaNa’

04  aparAdhamula nOrva samayamu – rasAli – Thyagaraja ( A,S )

05  sogasu jUDa taramA – kannaDagauLa – ThyagarAja ( S )

06 talli ninnu nera – kalyANi – Shyama Shasthri ( A,N,S,T )

neraval & swara @  ‘shyAmakrSNa paripAlini shUlini ‘

07  jAnakI ramaNa dasharatha nandana – kApi – Vanamali Jeeyar ( A )

08  sakhi prANA (jAvaLi)- chenchurutti – Dharmapuri Subbaiyer

09  vishvEsvar darshan kar – sindhubhairavi – Swathi Thirunal ( A )

This man apparently told the organisers that he may not be able to sing beyond two and half hours as he had to take the train back the same night. But, the music that out poured yesterday carried ‘itself’ ( and him) to  more than 3 and half hours, made him cancel his train ticket and decide to fly back the next morning. That to me sums up the concert.

Some exquisite harikamboji, path setting rasali alapana, and new realms of kalyani and the culminating sindhubhairavi were made the Friday evening effort through the traffic and the early departure from office, worthwhile. Raising to the occasion the supporting artists made their immense contribution to the overall effectiveness of the concert. Charulatha deserves a special mention.

Slow start with the sahana varnam was quickly compensated with some brilliant display of his usual self in the gaula pancharatna kriti. Dudukugala is the only pancharatna kriti I like to listen to in a concert. Probably too much of ‘goshti gana’ mulled my enthusiasm towards pancharatna kritis. MDRs Nata and Sri singings are definitely an exception. Back to Gaula, I had been requesting few artists to sing a longer version of the gaula kriti with 7-8 mins of alapana and some rounds of fitting kalpana swaras. A wish, pending to be fulfilled.

He sang a short alapana of harikamboji, did not give time for violin to replay, but started a couple of ‘enta rANi’ lines in the right wordsplit before expanding to the full pallavi line. The alapana and the kriti has not much to talk about, but the neraval that followed was shear brilliance. Very very long with all that one can ask for in hari kamboji came in during the fantastic neraval with the rest of the crew chipping in to match his exuberance. A similar feat extended to the kalpana swaras. Pure blitz.

A pleasant rasAli alapana came next. Being not too familiar with this ragam, we had to wait until he started the kriti to close in on rasali. Heard Rudrapatnam Brothers siging it in detail once, and TVS in another occasion. Both the vocal and violin alapana was impressive. Few rounds of kalpana swaras were added. A fast filler in kannada gaula with a super fast swaras came in before the main.

Kalyani alapana started off in an unfamiliar terrain to me. A typical fair from Abhishek, extending and exploring the possibilities with in the raga and his voice range. Because it is kalyani, It is all the same to me :-). However, Charulata in her turn played much more sedate kalyani. More traditional, or should I say familiar, phrases and movements. Very impressive indeed. There was a short commotion before she started her turn. A few in the audience raised to leave and a momentary displeasure could be scanned in her face. This did not impact the overall crowd situation as more were standing out to get in and occupy the vacant seats.

Yesterday, being the remembrance day of Shyama Shasthri ( died on the 6th Feb, 1827), it was nice on his part to select one of his masterpieces as the main kriti on the concert ( having sang only Thyagaraja kriti until then). Another classy neraval came in at the predictable line. However, I was a bit uncomfortable with the word splits at times, when he sang ‘Shya – makr – SNapa -ripA-lini shoo – lini. He ‘shoo’ed away this soon with some imaginative phrases. On a lighter vein, the ‘shoo’ he did before repeating ‘shUlini’  looking towards Anantha brought some smile. The kalpana swaras, if I may use some adjectives, out of the world. Awesome and one of the best I’ve listened for a long time. He did a clever ‘graha bheda’ during the kalpana swaras.

There is always an unspoken understanding and reading of the mind between Abhishek and Anantha. There is always the right anticipation on the percussionists part on what the main singer is going to do and he seems to be ready for the same. Guruprasanna was as always in his best self. The tani avartanam started a bit low key, but got the attention with the second phase onwards.

A short , nice alapana in kApi gave pleasant jitters through the spine. It was 9:10 and the singer had just announced his cancellation of train ticket. He probably is planning to sing a pallavi. But, it did not last long. He started immediately the ‘Janaki ramana’ kriti without the violin return. Melodious Chenchurutti Javali came in before another gem of a sindhu bhairavi. He sang a 3-4 min alapana before singing the Swathi kriti with some fabulous treatment. One of the best rendition of this , in my listening experience. There was bit of confusion and hesitation as he decided to conclude. There was no mangalam and audience for a while was looking perplexed, before realising it was over.

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Posted by on February 7, 2015 in Uncategorized


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Sanjay Subrahmanyan , RLKM Spring Festival at Gayana Samaja 03 Feb 2015

Vocal : Sanjay Subrahmanyan

Violin : Mysore Nagaraj

Mrudangam : K U Jayachandra Rao

Morsing : B Rajasekhar


01 satura kAmini dEva (pv) – kalyANi – Swathi Thirunal

02 gitichakra ratha sthitAyAi – kannaDa – Dikshitar  ( A,S )

03 vanadurgE vanaspati – vanaspati – Muthaiah Bhagavathar ( A,S )

04 kAlai tUkki ninrADum daivamE – yadukulakAmbOji – Marimuthu Pillai

05 koluvamArE gadA – thODi – Thyagaraja ( A,N,S,T )

neraval & swara @ ‘  tambura jEkoni guNamula jeluvonda bADacu

06  manEyoLagAdO gOvinda – abhOgi/shrIranjani – Purandara Dasa

07  RTP – kEdAragauLa – khaNDa Eka x 2 kaLai x 2 avartanam for complete pallavi

pallavi line  “tANDavam ADum tillai naTarAjan, tajam takajam takitajam enru -”

rAgamalika svaras in ‘Anandabhairavi , pantuvarALi , kadanakutUhalam

08 nirupamAna sAmi nI – behAg – Ramanathapuram Srinivasa Iyengar

09  ennamO vaghayAi varugudE – khamAs – Ghanam Krishna Iyer ( O )

10  palukutE nelatalli – AbhEri – Annamacharya

11 rAmanai bhajitAl – mAND – Papanasam Sivan

12 mangaLam – saurAshtram – Thyagaraja

vAzhiya sentamizh – madhyamAvati – Subramanya Bharathi

It had been a long time. Almost two months since I attended a concert. First time in last 10 years or so, where I haven’t attended a concert for an entire calendar month. Hence the expectations were high and so was the anxiety. Despite early departure from office and maneuvering the traffice, we could only find a place in the balcony. Sanjay, always begins his concert on time, and yesterday was no difference. But I was there to witness the entire concert unfold from the beginning. And what a spellbinding concert it was. Having used to see the same accompaniment for Sanjay, this sight of Mysore Nagaraj and K U Jayachandra Rao was a welcome surprise.

Sanjay, probably the only leading artist who brings a lot of variety to singing varnams. It is laudable in the days when singing varnam is becoming a taboo and whole lot of discussions for and against are being circulated in the community. I personally prefer a varnam at the beginning of the concert and not going to add my reasons to why, here. Every concert of Sanjay these days begin with a different varnam and some of them are real masterly compositions. The Kalyani varnam he sang yesterday was another gem of a composition. While there are available versions in the ‘youtube’ including one sung by Sanjay, this is for the first time, I am hearing this. I am amazed at the depth as well as the length of this pada varnam. This alone lasted nearly 16 minutes. Fantastic start.

Kannada alapana came soon with another not often heard composition to follow. Gitichakra ratha sthitAyai was very good, so was the kalpana swaras that followed. Vanaspati alapana came in immediately. He came to the rescue of people scratching the identiy of their brains, announcing it vanaspati. Pariyachakama was playing in my mind, but he chose to sing the Muthaiah Bhagavathar’s composition, which has a beautiful start with the rAgamudra’ embedded in it. The was after an eloquent return by Nagaraj. Kalpana swaras were sung at madhyamakala at ‘vanaspati’ with some mesperising patterns, largely through short ones, before returning to the song and completing the remainder of the charanam. A moving yadukula kamboji came in as a filler before the main.

Thodi alapana was weaved carefully through series of short phrases and quick bhriga laden akaram singing. Few instances of Mani Iyer influence during the alapana was nice to hear. In the middle, he took us to a different terrain with some different take, little folkish ( for want of better word as I am unable to explain it in technical terms) sounding slow phrases. This seems to have gone well with the listeners as he received a lot of applause for his efforts. A similar pattern he continued during the neraval. Great alapana from the singer was aptly complimented by a majestic return from Nagaraj. He did some fast moving phrases in his typical style. KoluvamarE gadA was a fabulous choice for the evening after the grand build up. The team played a brilliant neraval. To me, the morsing was a little inadequate at these stages, and I saw Jayachandra Rao chipping in more often even during the violin returns. There was equally enaborate kalpana swaras in typical two speed variation.

The percussion duo, played a good tani avartanam post the main. Jayachandra Rao was involved from the varnam playing some exquisite takes. Morsing left me for wanting most of the first half, improved much better towards the second part of the evening. A devarnama came in before the pallavi.

Kedaragaula alapana was very good, played even better by Nagaraj, barring a few jarring sound at high speeds. As usual an elaborate tanam between both the vocal and violin. A few impressive takes, clever ‘pause and fill’ between them to some great effect. A few ‘tagugugu’ patterns probably wasn’t very appealing. Pallavi was set to an interesting tAla. The entire line was completed in two beat cycle, even in 2 kaLa. Some great variations in the ‘tajam takajam takitajam’ during the pallavi repeats, using different ‘syllables’ were very nice. There was trikalam as well, which isn’;t common in his pallavis. Ragamalika swaras has some great takes too, espacially with pantuvarali. A very different approach to ‘pantuvarali’ svaras got many thinking and that made his comment’ pantuvarALi tAn’ in the middle.

Post pallavi was a few quick songs, with a short khamas sketch for khamas. Again a variety of new kritis, apart from the mAND composition. Surprisingly, there was no viruttam this time and he extended his mangalam by adding vazhiya senthamizh in madhyamavati.

A very refreshing sets of kritis and ragams, outstanding thodi and a classy kedaragaula pallavi. A concert sure to get a lot attention in the connoisseurs and common listeners discussions in the coming days.

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Posted by on February 4, 2015 in Uncategorized


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