Tag Archives: R K Padmanabha

R K Padmanabha, 1st Anniversary Concert , Ranjani fine Arts Bellundur, 09 March 2013

Vocal : R K Padmanabha

Violin : B Raghuram

Mrudangam : C Cheluvaraj

Ganjira : B Chandramouli

Tabla : Pt Vishwanath Nakod


01  SLOkam ( tapO vidyA..)  – AbhOgi – RKP ?

evari bOdhana – AbhOgi – Patnam Subramanya Iyer

02  gAnamUrtE – gAnamUrti –  Thyagaraja ( S )

03  nannu pAlimpa – mOhanam – Thyagaraja

04  marukELarA O rAghavA – jayantasrI – Thyagaraja

05  hiraNmayim lakshmIm – laLita – Dikshitar ( A,N,S )

neraval & swara @’gIta vAdya vinOdinIm girijAm tAm indirAm – san’

06  nArAyaNA ennirO sajjanarellA – hamsadhwani – Vadiraja

07  tanam & pallavi – thODi – khaNDa aTa x 2 kaLai  started at 3.5 beat before samam

pallavi line ‘pAhiAm SivE pAhimAm ambikE – pAhimAm’

rAgamAlika swara in ‘varALi, shubhapantuvarALi,darbAr,sudha sAvEri, dEvagAndhAri,nAtakurinji, dhanyAsi,darbAri kAnaDa, kAnaDa and thODi

tani Avartanam

08  SLOkam ( jwalatkAnti jagan mOhanAngi?? ) – rAgamAlika ( kalyANi, kharaharapriya,hindOLam,dwijAvanti,bahudhAri?, Ahirbhairavi,rEvati ) –  ?

pArvati bhagavati(?) pAlisamma nI paramESwari  – rEvati –  RKP ??

09 SLOkam ( SrI rAmam sugrIvam ) – rAgamAlika ( ranjani, bEgaDa,rItigauLa, bauLi,sindhu bhairavi) – ?

thillAna ( tAm takiTa taku jhanuta dhIm dhiraNa) – sindhu bhairavi – RKP ?

10  mangaLam  – surutti – ?

After a very successful annual Music Festival, Ranjani fine Arts celebrated their first birthday with a grand concert. Vid R K Padmanabha, who inaugurated this sabha last year, is back with a ‘scholarly’ concert yesterday. I would say scholarly because, it was more appealing to the intellect than to the heart. Let me hasten to add that it was not lacking any aesthetics per se.

He started the concert with the abhogi varnam, sang in multiple speeds. I thought he did 7 speed singing ( or was it eight ?) creating and immediate excitement in the percussion department, which continued through out the concert. Multiple speed varnams are an interesting exercise, but the traditional 2 speed or three speed is my personal preference.

Ganamurti was brilliant. He started off very well, and spend considerable time around mAnini maNi’ with some great singing with extended ‘eee’, and a similar improvisation at ‘ navanIta chOra’. He started the swara singing with only sa and ri for a few rounds, gradually moving to the next swara and similarly building it up. While the smoothness of gAnamUrti was at stake, the overall attempt was fabulous. He concluded it with a long round of swaras structuring it around ‘pivoting’ on each swara.

Nannu palimpa came next, which he said was a request from a friend in the audience, and was followed by a fast Marukelara in jayantasree. The first ( and ONLY) alapana came in the form of Lalita, which was elaborate and had a lot of hindustani styled phrases. He later explained that the Dikshitar’s composition has a lot of ‘viLambit’ phrases and is inspired by hindustani music. Alapana was brilliant in phases, but I thought it was stretched a bit towards the end, which could have been cut short. The violin return was rather short, but good. Hiranmayim Lakshmin came in its grandeur with a good neraval and longish kalpana swaras.

A Vadiraja composition ( set to tune by RKP himself?) came in as a filler, before the main. He hummed the thODi alapana but switched soon to an elaborated tAnam. Cheluvaraj joined in immediately, and the others did the same eventually. Typical to his style ( I’ve seen this in multiple times), he ventured into an exhibition of tAnam singing styles ( mayura tanam, shankha tanam, ghanta tanam etc etc). Pallavi was set to a complex talam and a more complicated ‘eduppu’. The total count was 2 x 14 ( khaNDa aTa) and it started 3.5 beat before samam ( that is what I could gather, corrections welcome). He later remarked that the starting was 49 aksharam after samam ( which could mean 7 aksharam before samam in a 56 count beat. Pallavi started in a very very slow tempo, getting every one in the percussion into the groove. It reminded me of the slow thodi ‘padams’ in kathakali ( especially the kAlakEyavadham’ , in the early mornings of the full night kathakali program). Ragamalika swaras came in a flurry, effortlessly switching from one to the other.

The percussion trio, then played a spirited tani avartanam. I was interested to see the way tabla merging with the other two experienced performers in a tala that wasn’t to common to play. He did a great job in the end. Percussion team in general was apt and in high gear, at times having an upper hand in the overall decibel levels of the proceeding. This , while lifted the overall concert to a higher level, dampened the balance to some extend. B Raghuram, was hardly heard and was physically shifted from the usual position. He hardly got any chance to show his mettle. There was only one alapana, and that too was very short. The only time he got a chance to be heard was during the swaras of ganamurti and lalita. The tanam or the ragamalika swaras were sung with all participating hence, no violin only play.

Post main had a couple of beautiful ragamalika slokams followed by a devarnama and thillana respectively. He ended the concert after wishing the young organisation all the very best and thanking the fellow artist and audience for allowing him to present some of the difficult and not common items in the evening’s concert.

Overall a very good concert to mark the 1st anniversary of a well managed organisation.


Posted by on March 10, 2013 in Concert songlist


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R K Padmanabha, Nadasurabhi Cultural Academy 21 March 2010

Vocal : R  Padmanabha

Violin : C N Chandrasekharan

Mrudangam : Cheluvaraju

Ghatam : M A Krishamurthy


01 Slokam ( sarvo vidya vivardha..) – AbhOgi

      evari bOdhana – AbhOgi – Patnam Subramanya Iyer

02 AnandAmrutAkarshiNi – amrutavarshiNi – Dikshitar ( S )

03 enta vEDukoNtu  – saraswati manOhari – Thyagaraja

04 ninna daya iradu nanage – sambhOdyuti ( janya of 69 meLa dhAtuvardhini) – R K Padmanabha  ( S )

05 talachi nantanE nA – mukhAri – Thyagaraja ( A,N,S ) – 45 minutes

   neraval & Swara @ ‘ nAda brahmAnanda rUpa’

06 gAnabhaktiyE shivashaktiyu – shivashakti – R  K Padmanabha

07 mOkshamu galadA – sAramati – Thyagaraja

08 haNavE ninnaya guNavEnu –  mOhanam  – Vadiraja

09a RTP – kAmavardhini   –  misra triputa

          tAnam  demonstration in  mayUratAnam , rudra tAnam, ghanta tAnam ( bell), ashwa tAnam, shangha tAnam, markata tAnam , bhringi tAnam, nAbhi tAnam..

Pallavi line ‘ entani nE varNintunu shabarI bhAgyame’

rAgamAlika swaras in bhAgEshri , sahAna, kAnaDa, hamIr kalyANi , nAttai, varALi , srI ( or madhyamAvati??) .. ( I have missed a couple, I’m sure )

09 b  tani Avartanam

10 slOkam ( jwalat kAnti manthram ) – rAgamAlika ( darbari ?, shivaranjani, dhanyAsi, bEgaDA, dEsh, ….)

      shringa purAdhIshwari shAradE – ?? ( madhuvanti?) –  ??

11 pApavimOchani pAvani – rEvati – Vadiraja ??

12 Slokam ( Shruti smruti purANam..) – hamsAnandi – ?

      thillAna ( dhim ta dhim ta dhim ta dhim ta dhim ta dhiraNA ) – hamsAnandi –  R K Padmanabha

13 ellAnu balle  – madhyamAvathi – Purandara Dasa   ( in the same tune as bhagyada lakshmi bAramma)

14 mangaLam – saurAshtram, madhyamAvati – Thyagaraja

One outstanding concert by Sri R K Padmanabha at the Nadasurabhi , yesterday.  Despite, average support from the accompanying artists, he single handedly, pulled off a fantastic concert.

Concert started with the Patnam Subramanya Iyer’s varnam in Abhogi, which he rendered in 4 speeds ( or was it 5).  Few quick kritihs followed before an elaborate mukhari.  The build up was leisurely and deliberate, staring at the very low octave, ( barely audible at times ) and with some superb passages. At one time, he stopped and commented “musiri Subramanya iyer’s body can touch” . Not often heard krithi of Thyagaraja ( first time for me), with a superb neraval at ‘nAdabrahmAnanda rUpa’ and some cracking swaras to finish , lasting 45 minutes.

Few Vadiraja compositions, set to tune by him followed, in few rare ragas ( Shambhodyuti ??, and shivashakti) before an elaborate pallavi. Somehow, I had difficulty in identifying the raga, and was more or less ‘settled on latAngi’ ( so much for my knowledge).  Alapana and the violin return was very good. Tanam was the piece-de-resistance of the day. Demonstrating various tana types , explaining the nuances of each, taking the reference till Patnam Subramanya Iyer ( his Guru parampara), he got the audience enthralled by his knowledge and practice.  Pallavi was set to Misra triputa and had the traditional trikalam. A flurry of ragamalika swaras followed, without any break for violin return.

Most of the initial kritis, until RTP was set to Adi tala. The percussion was happy enough to play the same pattern over and over with absolutely no variety in the offering. Few changes in tala might have made this more interesting.  They were also higher on the decibel level.

In all, a very good concert for three and half hours. 

Edit : I have edited some of the ‘??’ with the confirmation from Sri Raghavan. They were composed by Sri R KP himself.

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Posted by on March 22, 2010 in Concert songlist


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