Vocal : S R Maruthiprasad
Violin : R Achyutha Rao
Mrudangam : V R Chandrashekar
Ghatam : S Srishylan
01 shLOkam ( praNAmya shirasA dEvam gaurIputram vinAyakam) – gauLa
praNamAmyaham shrI gaurIsutam – gauLa – Adi -Mysore Vasudevachar ( S )
02 nAda sudhA rasambilanu – Arabhi – rUpakam – Thyagaraja ( O )
03 ETi janmamiti hA rAmA – varALi – mishrachAp – Thyagaraja ( A,N )
neraval @ ‘ sAgarashayanuni tyAgarAjunutuni’
04 shrIpatiyu namagE sampadavIyali – shrI – khaNDachAp – Purandara Dasa
05 dAsharathi mahanIya – kEdAragauLa – Adi – P T Narasimhachar (Pu Thi Na ) ( A,S ,T )
06 shLOkam ( kUjantam rAma rAmEti madhuram madhurAkaram) – shubhapantuvarALi
rAma rAma rAma sItA rAma ennirO – shubhapantuvarALi – Adi tisragati – Purandara Dasa
07 rAmanAma pAyasakkE – jana sammOdini? – Adi – Purandara Dasa
08 elli nODidaralli rAma – pantuvarALi – mishra chAp – Kanaka Dasa
09 shLOkam ( shrI vatsAnkita shrI kaustubhadhara)
gOvardhana giridhara – darbAri kAnaDa – Adi – Narayana Theertha
10 tUgiri raghurAmana ghanashyAmana – hindustAni kApi – mishra naDai – P T Narasimhachar ( Pu Thi Na )
11 mangaLam – saurAStram – Thyagaraja
shLOkam ( mangaLam kOsalEndrAya) – madhyamAvati
What a fine musician he is. This isn’t first time I am listening to him, but it indeed was for the first time I am attending his concert. I’ve listened to him multiple times in the Bangalore FM amrutavasrhini program and each time, he has impressed me. So, this was an occasion I was looking forward to and he did not disappoint me.
Solid voice, excellent at the lower octaves. Absolute beauty in his diction and the way he split the lines to get the absolutely correct meaning of the kritis. Very high on emotive scale – I don’t deny his handicap is adding to our appreciation. I could see visible movements of emotions around me when he was singing the varALi kriti and the shubhapantuvarali. That aside, he sang brilliantly. Super selection of kritis including some beautiful devarnamas, which is his forte.
Took a while to settle, with the lack of feedback and some balancing of volumes. That largely impacted the Arabhi piece after a good gaula. Violin volume continue to be on a lower side through out, which not only affected the overall listening pleasure, but his interest in the scheme of things. Percussion support was a surprise package. Sri S R Chandrashekar played very well through out the evening, including a nice little tani avartanam.
Only two alapana , in varALi and kEdAragauLA, pretty good on both occasions. Kedaragaula was done in a relatively faster tempo. Violin was even faster, loosing some of the sheen out of the same. Pu Thi Na’s composition was a good choice, not heard before.
As requested by the organiser, he sang a lot of devarnama in the concert. The ‘shrI patiyu namage’ still linger in mind. Even the others were sung with a lot of elan, soaked in ‘bhAva’ , clear articulation of words so that the meaning comes out clearly. It is always a pleasure to listen to Karnataka Artists singing devarnamas.
If you look at the list with a typical concert scheme, there are a lot of missing things ( only two alapana, one neraval, only a couple of kalpana swaras at the end of the kriti etc). But if you are one who experienced this last evening, you probably carry the music with you beyond the music hall and there in lies the success of a good concert.