Tag Archives: Indiranagar Sangeetha Sabha

Kudamaloor Janardanan @ Indira Nagar Sangeetha Sabha , 5th May 2018

Flute : Vid Kudamaloor Janardanan

Mrudangam : H S Sudheendra

Ghatam : Trichy K Murali


01 shrI mahA gaNapatE – AbhOgi – khaNDa chAp – N S Ramachandran ( A,S )

02 rAga sudhArasa – AndOLika – Adi – Thyagaraja  ( A,S )

03 bhAvayAmi raghurAmam – rAgamAlika – rUpakam – Swathi Thirunal ( A,t, S,T )

04 bArO krSNayya – rAgamAlika – Adi – Kanaka Dasa ( O )

05 Western Notes – Harikeshanallur Muthaiah Bhagavathar

I am not sure if he has performed in Bangalore in the recent past. I haven’t come across a concert of his in Bangalore for a few years. His music is different. The way he handle the raga in its essence , I think is slightly different from the typical carnatic musicians. The difference was evident in the way he did Andolika.  He probably using the special characteristics of the instrument to its best effects.

While he did not sing or play too many compositions in the two and half hours he played, each of the compositions were dealt in detail. The abhOgi, went on for about 25 mins. with the absence of a violin, was a huge task. The kalpana swaras he played for Abhogi, stood out.

Interesting to see Bhavayami taken up as main. After a brief introduction of each raga, through the pallavi lines of popular compositions, he went on a detailed exploration of each raga, with some impressive switch over. A similar feat on the tAnam as well. Some liberty on the singing the kriti, and the kalpana swaras which was again very elaborate.

H S Sudheendra played very energetic, through out the evening. He was very impressive in the abhogi kriti, and some what less for the Andolika. However, the percussion duo peaked during the main and continued with an impressive tani avartanam.

Mand, I think is best explored through the flute. The short sketch he played in the instrument gave me goosebumps. He concluded the concert with the Western Notes composed by Muthaiah Bhagavathar, again played very well.

Mellifluous music, unhurried renditions, nice elaborate swaraprasthana and intelligent raga delineation and a clear differentiated approach to music. That sums up the evening for me. If an artist leave you , to continue the music, wanting to hear him more, I think he has done his job. That is what Sri Kudamaloor Janardanan did last evening.

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Posted by on May 6, 2018 in Uncategorized


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Ramakrishnan Murthy @ indiranagar Sangeetha Sabha, 25th Jun 2017

Vocal : Ramakrishnan Murthy

Violin : R K Shriramkumar

Mrudangam : K Arun Prakash

Ganjira : G Guruprasanna

List :

01 viribONi ( varNam ) – bhairavi – PAchimiriumm Adiappa

02 jaya jaya jaya jAnakIkAnta – nATa – Purandara Dasa ( S )

03 smaraNE sukhamu – janaranjani – Thyagaraja ( N,S )

neraval & swara @ rAmanAma shravaNamu valla nAma rUpamE hrdayamu

04 rAmanAma pAyasakke – Anandabhairavi – Purandara Dasa

05 RTP – kalyANi – chaturashra tripuTa, 2 kaLai,  1/8 atIta eduppu?

tAnam in kalyANi, kIravANi, kannaDa and kAnaDa

pallavi  ‘ un darishanam kiDaikkumO naTarAja , dayAnidhE ‘

rAgamAlika swaras in kalyANi, nIlAmbari, aThANa, kApi and shrI

05b tani Avartanam

06 shrI vishvanAtham bhajEham – chaturdasha rAgamAlika – Dikshitar

07 shLOkam ( mangaLam kOsalEndrAya) – shrI

First of all, congratulations to Vidvan Ramakrishnan Murthy, for receiving the Purandara Yuva Puraskar for this year, as one of the awardees. Truly deserving for the service he is offering to the music field.

Last evening concert, evoked mixed emotions, to say the best. It did start about 30 min behind schedule, as the previous program extended by 15-20 min. He probably was not at the best of his physical ability. He was visibly distracted and was grimacing towards the second part of the evening. That aside, the entire evening was of a slow sedate mood, one slow piece after other. Some of the usual verve and vigour wasn’t at display. So, the atmosphere wasn’t of excitement.

But, taking individual pieces, I hasten to say, he sang very well. A very detailed bhairavi varnam – I guess he sang all the charanams, started of the concert very well. Nata kriti was a bit off, even the kalpana swaras were just ok.  The start of janaranjani to me was the highlight of the evening. One sangati after other came out with such elan, albeit on a slow speed, to some mesmerizing effect. Beautiful stuff. An elaborated neraval at rAma nAma shravanam added to the glow. Few round of swaras too.

Andabhairavi alapana, again was decent. Some feedback and echo issues with the amplifier disturbed the free flow a couple of times. Sriramkumar played in the similar lines. I was expecting one of the Shyama Shasthry’s master pieces. But he picked yet another Purandara Dasa kriti, presented very well.

Detailed kalyANi alapana came soon, befitting the main piece of the evening.  While nothing to talk home about the alapana, the tanam was exquisite. The easing from kalyani to keervani was classy , so was the kannaDa and kAnaDa interludes. Brilliant stuff.  Familiar pallavi line, but set to Aditalam. I think he did an ateeta eduppu, fixing ‘darishanam’ at samam, which makes ‘un’ a fraction before samam. I could be wrong here. No trikalam in the offer, but some attempts during the kalpana swaras. Very good ragamalika swaras, especially the slow aThANa was superclass. Tani Avrtanam too did not lift up the mood, a typical Arun Prakash style. Guruprasanna,did some good attempts while accompanying, though. He concluded the concert with the 14 raga garland of Muthuswamy Dikshitar.

A good concert, especially the second part of the pallavi and the janaranjani. One always expect more from Vidvans like Ramakrishnan Murthy.

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Posted by on June 26, 2017 in Uncategorized


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R Suryaprakash @ Indiranagar Sangeetha Sabha, 12 Oct 2014

Vocal : R Suryaprakash

Violin : M A Sundareswaran

Mrudangam : C Cheluvaraju

Ghatam : Srishylan


01.  shLOkam ( vakratuNDa mahAkAya) – nATa

shivatraya mahAgaNapatim – nATa – Svarna Venkatesha Dikshitar ( S )

02.  rAmanAtham bhajEham – pantuvarALi – Muthusvami Dikshitar  ( Short Sketch , N,S )

neraval & swara @ ‘kumAra guruguha mahitam kapi vrindAdi sannutam’

03.  sEvikka vENDum ayya – AndOLika – Muthu Thandavar ( A,S )

04.  sItAvara sangIta jnAnamu – dEvagAndhAri – Thyagaraja ( A )

05.  kA vA vA – varALi – Papanasam Sivan ( S )

06. chakkani rAja mArgamu – kharaharapriya – Thyagaraja ( A,N,S,T )

neraval & swara @ ‘ kaNTiki sundara taramagu rUpamE ‘

07.  ninna oLumegE nAnu – sAramati ? – Purandara Dasa

08.  RTP – sumanEsha ranjani –  khanda triputa x 2 kalai , +1 from samam

pallavi line ‘ mAnini nigamAgama sanchAriNi , sumanEsha ranjani’

ragamalika swaras in  janaranjani and shivaranjani ( not sure if there was one before this)

09  eppO varuvArO – jOnpuri – Gopalakrishna Bharathi

10  Western Notes

11  thillAna ( nAdru dhIm ta shim nAdru dhIm ) – shuddha sArang- R Suryaprakash

12  shrikAntha enagiStu dayamADO – bhAgEshrI – Purandara Dasa

13.  mangaLam – saurAshtram / srI- Thyagaraja

What a cracker of a concert. From the start, it was an awesome fare. Lasting nearly three and half hours, Sri Suryaprakash, enthralled the audience with some outstanding singing. Taking the clue from the pallavi line of the main kriti one asked himself  “When there are excellent royal paths, why enter bylanes, O Mind?”

On such an evening, it is difficult to pick and highlight what stood out. The majestic and ‘royal’ kharaharapriya , the impressive pallavi in sumanesa ranjani , brilliant and refreshing andolika alapana or the impressive list of post pallavi kritis. One can pick any from the list above and he did a great job for eah of these pieces.

Concert started with a rather rare Nata kriti of Svarna Venkatesh dikshitar, making his presence felt with some smashing rounds of swaras. Launching into a short sketch of pantuvarali, he moved on with the Dikshitar’s master piece ‘Ramanatham bhajeham’. I always love a pantuvarali or purvikalyani up in the list, beginning of a concert. More so, if they are without or short alapana but necessarily with neraval and swaras. Exactly that was given. Good enough ( by duration)  neraval at the predictable ‘kumara guruguha’ and some classy kalpana swaras was the highlights of pantuvarali.

A very refreshing alapana of andolika with many nontraditional sangatis was a treat. Sri Sundareswaran was equally brilliant, giving us some phrases of ‘ragasudharasa’ in his return. But it was ‘sevikka vendum ayya’ adorned with some good rounds of swaras. Yet another impressive alapana came soon in devagandhari , yet again M A Sundareswaran gave us hint of ksheerasagara. He sang seethavara, I would have been ok with either. Another Mani Iyer classic of kA vA vA received with some admirable responses from the audiences. HE added a few rounds of quick fire kalpana swaras. Appreciatively, he chose to sing the swaras at two places alternating between kA vA vA and pazhani malai urayum muruga vA ( if I remember correctly) and it had an immense impact.

When he started the first phrases of kharaharapriya, there was an enthusiastic response from the violinist. He sang a splendid alapana of kharaharapriya, meticulously detailed and appropriately stretched with careful build up. M A Sundareswaran started off by playing ‘samAnamevvaru’ eliciting some laughter across the hall. The duo made some appreciative remarks before continuing. It had to be chakkani raja, despite the samanamevvaru prompt. With the memories of Mani Iyer’s singing in mind, it had to match the expectation. Sri Suryaprakash presented the kriti with all the grandeur and royalty. Superb and very elaborate neraval at ‘kaNTiki’ and equally apt kalpana swaras to live upto the expectations of the musician and the kriti.

Cheluvaraju and Srishylan played a good tani avartanam. The duo was playing to the occasion with some nice finger works , specially sri Cheluvaraj, who invoked some sublime sounds while accompanying the kritis, also by keeping away from playing allowing the essence of the music to sync with the audience.

For a usual concert it was now time to enter the closing up kritis. He sang a devarnama, probably in sAramati, post the main.Prior to the concert when I met up with Sri Suryaprakash, he hinted at a special RTP for the day and he kept me guessing without letting out any hint. Since the time is already around 7:45 nearly 2:45 mins into the concert, I wasn’t hoping for a pallavi. He however announced sumanesa ranjani to the delight of the audience. Alapana was pretty nice, as Sri Sachi mentioned, it was something appropriate for his style of singing.After his turn he said, we all want to listen to the veteran artists to show us the merit of the raga asking Sundareswaran to play. He played a shorter version of the same. Tanam was again very well rendered, with Cheluvaraju chipping in. Pallavi, coined by him less than 48 hrs ago ( he said) had some good swarakshara use. He did use the pallavi line ‘mA ni ni’ very effectively in the swara singing. Trikalam was done effectively for a couple of rounds. He also added a couple of raga malika swaras, both janaranjani and shivaranjani were brilliant , especially the ‘radio tune’ start by Sundareswaran in his turn.

Probably there were a couple of requests most of them were his guru’s or parama-guru’s favorites. Wome one requested for a thillana of his composition, and he obliged with the sudha sarang thillana of his own. There was more requests, again he sang a devar nama in bhageshri before the mangalam.

Fabulous concert, very satisfying and fulfilling. All that is expected and more was delivered. Music of high quality and aesthetics. One of the best concert of the recent times for me. Kudos to the artists.


Posted by on October 13, 2014 in Concert songlist


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Kottakkal Madhu & Ranjith Varier – Kathakalipadam and karnatik Jugalbandi, Indiranagar Sangeetha Sabha 14 jun 2014


Vocal : Kottakkal Madhu & Kottakkal Santhosh

Chenda : kottakkal Vijayaraghavan

Maddalam : Eloor Arundev Warrier

Edakka : Kalamandalam Anish


Vocal : Kottakkal Ranjith Varier

Violin : Mathur Srinidhi

Mrudangam ; Poongad Sanjoj

Morsing : Kalamandalam Shyju

List:   ( kathakalipadam in italics )

01.  vanajAkshirO ( varNam )  – kalyANi – Rakti Veerasamy Pillai ?

02.  SLOkam ( iththam bhartru.. ) – mAyAmALavagauLa –  from Kuchelavruttam

kAruNyAnidhE kAntha – mAyAmALavagauLa – from Kuchelavruttam

vidulaku mrOkkEDa – mAyAmALavagauLa – Thyagaraja  ( S )

03.  short sketch of Sri ( Madhu )

SLOkam ( pItAmbaram karavirAjitam ) – Sri –    ( by Madhu and Ranjith )

Sri alapana by Srinidhi

ajitA harE jaya – SrI – from Kuchelavruttam

SrI kamalAmbikE –  SrI – Dikshitar

04.  rAmA ninnu namminA – mOhanam – Thyagaraja ( S )

gaurIsham mama – mOhanam – from Kiratham

05.  SLOkam ( athyAScharyam vaibhavam bAhukEyam) – mukhAri – from Nalacharitham Day 4

naishadhan ivan thANO – mukhAri – from Nalacharitham Day 4

sarasIruhAsana – mukhAri – Thyagaraja

06.  thODi alApana  ( Ranjith Verier & Madhu ) with Violin return

priyamAnasa nI – thODi – from Nalacharitham Day 1

jEsi nADella – thODi – Thyagaraja

07. SLOkam (  iTi sa NrupatinA khagO visrushtO ) – kAmOdari / kAmbOji –  Nalacharitham Day 1

kAmbOji alapana ( Ranjith & Srinidhi )

UrjitA ASaya pArthiha tAva – kAmOdari / kAmbOji  – naLacharitam Day1

rAgamAlika neraval (??) @ ‘mAlini rUpiNi Seelavati’  in atAna, bEgaDa, vasantha & bilahari

rAgamAlika swaras @ ‘mAlini rUpiNi Seelavati’  in atAna, bEgaDa, vasantha & bilahari by Ranjith Varier

kANA kaN kODi vENDum – kAmbOji – Papanasam Sivan   ( S )

tani Avartanam ( mrudangam, mOrsing, cheNDa, maddaLam & eDakka )

08.  SLOkam ( sudEvOthra vAnim )  – dwijAvanti – from Nalacharitham Day 3

marimAnkaNNi mauliyuDe – dwijAvanti – from Nalacharitham Day 3

taruNi njAn enthu cheyvU – dwijAvanti – Swathi Thirunal

09.  SLOkam ( kastUri tilakam) – madhyamAvathi

padmA vallabha pAlaya – madhyamAvathi

SLOkam ( Sriyay kAnthaya )

Earlier this year ( February), IPCA ( International Center for Performing Arts) arranged a similar program at the Seva Sadan with Sankaran namboodiri handling the carnatic part with Madhu with kathakali padam. While the attempt was lauded, it did have many short comings and personally had not lived up to the expectations. Too many things were amiss that day – the coordination, the selection of appropriate padam/kriti, the selection of ‘kalapramanam’, the balance of power ( sorry) among others. The lack of preparedness was evident. However, I am aware of similar programs held in many parts of Kerala, accepted by the listeners enthusiastically.  This prompted a not so excited reaction in me for this program, but, a quick look at the participating artist was enough to restore the confidence.

For one, both the vocalist are from the same school or system. The carnatic singer, is also well acquainted with the kathakalipadam ( apparently learning kathakalipadam from Madhu himself). There is no power equation coming into play. The percussion artist is familair with the kathakali system. That is what was transpired on stage. There was superb coordination. The selection of respective padams and kritis were done with utmost care and are of similar kalapramanam and musical structure. The measure and appropriation was spot on. There was no moment of excessive detailing. The percussion team was in brilliant coordination. Mathur Srinidhi, looked like an odd man out, did a commendable job, exhibiting his class during carnatic phase ( both in his alapanas and the return swara prasthanas) as well as the subtle support for kathakalipadam ( I still prefer to listen to the padam without violin support).

Concert started with a kalyani aditala varnam by Ranjith joined by Madhu at most of the time. Mayamalavagaula came in soon with Ranjith announcing the ragam and the similarities. ‘Karunyanidhe kantha’ from kuchelavruttam and ‘vidulaku mrokkeda’ had a lot of similarities. Ranjith sang a few rounds of quickfire swaras for the same. Crowd favorite Sri ragam with typical ‘pitambaram’ slokam. Ajithahare was good, but the namasankeerthanam styled ending crying out  ‘mAdhavA..krishNA’, isnt very appealing to a kathakalipadam listener. Ranjith chose to sing Sri kamalambike in his turn, a great choice. We were debating the last time around on which could be an apt accompaniment for ‘ajitha hare’ and ‘Sri kamalambike’ is a good choice.

Ranjith continued the concert with Thagaraja kriti in mohanam, a bit fast paced rAma ninnu nammina addd with a few rounds of kalpana swaram. I mentioned ‘gaurisham mama’ to come in as kathakali padam and I was spot on. However, this was nothing like the padam that I’m used to listen. Everything about this was far away from the beautiful padam. Nothing of it resembled the kathakali style, it was too light, often folkish in their singing. The original padam suffered worse that the fate of Spain the previous night. Mukhari that came in soon after was also was a bit weak. The prelude slokam was not sung in adhering to kathakali style, and the padam ‘naishadhan ivan thano’ also had its own ups and down. Not one of the best. Ranjith continued the mukhari with another good selection of ‘sarasiruhasana’ of Thyagaraja.

Thodi, announced by Ranjith came in with some detailed alapana. Ranjith handling the initial parts in Carnatic style and Madhu chipping in later in a rather nice kathalaki style alapana, which I liked. Srinidhi played a traditional weighty and classy thodi in his turn. Nala’s padam to ‘hamsam’ from the Nalacharitham is one of my favourite and it was sung in style. Ranjith’s selection was a surprise.

Kamboji was the main piece of the evening. The slokam ‘iti sa nrupatina khago’ was elaborate, capturing the beautiful phrases of kamodari, before Ranjith continued the alapana in his version, followed by Srinidhi. Urjitha Asaya was grand.  The line ‘mAlini rUpiNi seelavati’ had a neraval-ish repeats in ragamalika, immediately with a round of swaram in the same raga by Ranjith. Few wrinkled fore heads, but I thought it was nice and innovative for a jugalbandi. Ranjith sang from Papanasam Sivan’s kANA kan kODi vENDum, starting at charanam. He sang elaborated swaraprasthana, befitting the main, not without a couple of dubious phrases.

Tani avartanam lead by Sanoj was a pleasure to watch and listen. Very well orchestrated, restrained and not exceeding the limits they presented a delectable fair. The morsing vidvan switched to ‘konnakkol’ towards the end adding to their impressive display. Concert ended soon but not before the dwijavanti masterpiece ‘marimAn kaNNi’. A Kurup masterclass, I refused to acknowledge any other version, was agreeably sang very well by Madhu. As anticipated, Ranjith chipped in with Swathi thirunal padam ‘taruni njan’ immortalized by KVN. A madhyamavathi piece shared by the duo brought in the curtains for the evening affair.

In all, it was much pleasing and improved concert from the previous one. Except for the disappointment of mohanam, it was by and large very well sung. Many many positives to take forward to and a few caution on the kathakalipadam tradition. Madhu is a phenomenal singer. his voice range, his hold on the padams, overall grip on conducting and progressing the days events were admirable. Ranjith is a good singer. Good alapanas, some interesting kalpana swaras, and his awesome selection of the equivalent kritis matching to the kathakali padam was commendable. Percussion team played with a lot understanding and appreciation. Mathur Srinidhi, despite being an outsider to the crew played true to the tradition. His versions amongst all were more authentic and pleasing. Despite my perennial reservation against ‘jugalbandi’ concerts, this was pretty enjoyable.


Posted by on June 15, 2014 in Concert songlist


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Saketharaman @ Indiranagar Sangeetha Sabha Annual festival 25 Jan 2014

Vocal : Saketharaman

Violin : Mysore M Nagaraj

Mrudangam : Umayalpuram Sivaraman

Ganjira : Guruprasanna


01. intha chAlau jEsi (varNam) – bEgaDa – Veena Kuppaiyer ( O )

02. dhariNi telusukoNTi – suddha sAvEri – Thyagaraja ( short alapana , S )

03.  nambi kettavar evarayya – hindOLam – Papanasam Sivan ( S )

04.  nIdu mahima pogaDa – hamsAnandi – Muthaiah Bhagavathar ( A,S )

05.  eppaDi manam tuNindadO – husEni – Arunachala Kavi

06.  rAma rAma rAma rAma , rAmA ennirO – vasanta – Purandara Dasa

07.  SrI subrahmaNyAya namastE – kAmbOji – Dikshitar ( A,N,S,T )

      neraval & swara @ ‘ vAsavAdi sakala dEva vandidAya varENyAya’

08.  pArukkuLLE nalla nADu – bhImpLAs – Subramanya Bharati

09.  jagadOdhAraNa – kApi – Purandara Dasa

10. thillAna ( dhIm tana dhIm dhiraNa)  – behAg – Lalgudi Jayaraman

11. mangaLam – saurAshtram / madhyamAvati – Thyagaraja

I haven’t listen to Saketaraman live for over two years. The accompanying artists are the best in their respective fields. And the location is nearer to my place. These three reasons weighed it against traveling to IIM, Bangalore and attending L Subramanyam followed with Hyderabad Brothers. The decision wasn’t wrong and was rightly rewarded. The initial feedback from the other venue wasn’t all that encouraging.

Saketharaman presented a fantastic concert. An outstanding hamsanandi and a classy kamboji main marked the evening with the stalwarts in accompaniment. Concert started with the begada varnam and the master percussionist was immediately made his difference felt. A short alapana of sudhasaveri ( one hoped for a longer one) did not have any violin return. UKS was phenomenal at the pallavi line, varying his ‘play’ for every sangatis Saketaraman sang.  The fast paced hindolam had a matching fireworks of kalpana swaras.

Hamsanandi was the first detailed alapana. Both Saketaraman and Nagaraj excelled in their respective turns and the Muthaiah Bhagavathar’s master piece was an eloquent exposition. There was a hope for neraval , but he moved to an elaborate, mesmerising, kalpana swaras. What a treat ! Two quick fillers husEni and vasanta came in before the main. Somehow, husEni had too many mAnji shades ( notwithstanding the similarities),  apart from the pallavi line, the rest had more manji touch than huseni, to me.

Kamboji alapana was befitting to a main. Very sedative and slow and short phrases to begin, with some interesting patterns in the middle, the longish alapana was top class. Nagaraj was even better in his turn. There was a hint of ‘Sri Subramanyaya namaste’ in the violin alapana and we were right. A fantastic neraval , and equally brilliant swaras made the main worth its status. UKS, played ‘tani’ avartanam which had many many ‘aha’ moments as one expect from the master. Guruprasanna, largely donned the role of the non-striker ( no pun intended ! ) during the evening, giving as much strike as possible to the master. His part of the taniavartanam was also short compared what UKS played.

Post main had a patriotic song ( being the eve of the republic day) and a Lalgudi thillana, apart from a beautifully rendered jagadodharana ( reminded me of KVN). He sought the permission of the elders to wind up the concert with the traditional mangalam.

The concert was top class, and I have no second opinion on that. However, for a two and half hour of uninterrupted concert, it had only two alapana and only one neraval. Personally, I would have preferred another alapana and the sub main with a short neraval. But that’s me, a sucker for neravals…

Earlier in the evening Sri Umayalpuram Sivaraman was honoured with the ‘Purandara Award’ by Indiranagar Sangeetha Sabha, in the presence of the World Wide Head of Chinmaya Mission ( pardon me for this use, one cant escape the corporate jargon, as I came in late and did not gather his holiness’s name) and legendary R K Srikantan. Congratulations to the ‘Master Percussionist’ and pray for his health and wish him many more awards and recognitions.

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Posted by on January 26, 2014 in Concert songlist


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