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Ramakrishnan Murthy @ Sri Rama Seva Mandali, 19th Apr 2017

Vocal : Ramkrishnan Murthy

Violin : B U Ganesh Prasad

Mrudangam : Bangalore V Praveen

Ghatam : Giridhar Udupa

List:

01 shLOkam ( sadguru gajAsyavANi) – shankarAbharaNam

02 chalamElA (varNam) – darbAr – Thiruvottiyur Thyagayya

03 budhamAshrayAmi satatam – nAtakurinji – Dikshitar

04 vAdErA daivamu manaA – pantuvarALi – Thyagaraja  ( A,N,S )

neraval & swara @ ‘dhAtru vinutuDaina thyAgarAjuni ‘

05 rAmakathA sudha – madhyamAvati – Thyagaraja ( A,N,S,T )

neraval & swara @bhAmAmaNi jAnaki saumitri’

06 svAmi mukhyA prANa – yadukulakAmbOji – Purandara Dasa

07 RTP – thODI – khaNDa tripuTa x 2 kaLai +1 eDuppu

rAgamAlika tAnam in thODi,nAgasvarALi, behAg, surutti

pallavi line ‘tArayasadA rAmachandra mUrtE toDita shiva chApa kIrtE’

rAgamAlika swaras in aThANa, kApi, nIlAmbari, darbAri kAnaDa

tani avartanam

08 mAtADa bAradEnO – khamAs – Narahari Dasa

09 shAradE karuNAnidhE – hamIr kalyANi – Chandrasekhara Bharati

10 thillAna ( tOm tOm tadara) – pUrNachandrika – Ramanathapuram Srinivasa Iyengar

11 mangaLam – saurAStram – Thyagaraja

shLOkam ( mangaLam kOsalEndrAya)

Brilliant concert from the young man last evening at the Mandali. It left me with a feeling of completeness in the end. Beautifully conceived and managed concert, with every element included. Everything presented to its fullest. Very measured , very classy.  Loved it.

The pantuvarali made the change. The alapana was good, but wasn’t an awe inspiring one. But the selection of the kriti, the neraval he sang and the swaraprasthana that followed were super class. Without much ado, he launched into an elaborate madhyamavati alapana. Very well done. BUG was equally brilliant in his turn. Ramakatha was my prayers and so it was. Another top notch neraval and fantastic rounds of swaras. The percussion duo played out a rather short tani avartanam. PRaveen was in high spirits, occasionally going over the comfort zone. Udupa as in his usual best through out.

A pallavi was sure to come. But there was a devarnama just before that, set to tune ( rather nicely) by his current guru R K Sriramkumar.  Majestic thOdi alapana started soon. The alternating , multi phase alapana between vocal and violin was real treat. Pallavi was even special. He glided from thOdi to nagasvaravali ( as in grahabhedam) moved to behag and a fleeting moment of surutti. BUG did the same in his turn. Interesting pallavi line, nice round of ragamalika, no trikalam were the highlight of the pallavi. There was another short tani avartanam at the end. Post main had a very moving mAtADa bAradEno, among other things.

A complete package, beautifully presented.

 
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Posted by on April 20, 2017 in Uncategorized

 

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Ramakrishnan Murthy , Seshadripuram Ramaseva Samithi, 27th Apr 2016

VocalGu : Ramakrishnan Murthy

Violin : Charumathi Raghuraman

Mrudangam : Anantha R Krishnan

Ganjira : Guruprasanna

List :

01. shLOkam ( sadguru gajAsyavANim) – kalyANi

vanajAkshi ninne kOri (varNam) – kalyANi – Pallavi Gopala Iyer

02. tuLasIdaLamulacE – mAyAmALavagauLa – Thyagaraja ( N,S )

neraval & swara @ ‘sarasIruha punnAga champaka pATala karuvaka’

03. idu bhAgya idu bhAgya idu bhAgyavayya – bilahari – Purandara Dasa ( A,N,S )

neraval & swara @  ‘vasudheyoLu purandara viThalana nAmava, hasanAgi nenenenedu sukhiyAgabEku’

04. mAyamma yeninE – Ahiri – Shyama Shasthri

05. brOva bhArama – bahudhAri –  Thyagaraja

06. mAmava pattAbhirAma – maNirang – Dikshitar ( A,S,T )

07. R T P – pUrvikalyANi – mishrajAti tripuTa x 2 kaLai , eduppu at +3/4 ??

pallavi line ‘ dasharathabAla rAmabhadrayya, dayAnidhE’

rAgamAlika swaras in aThANa, kuntaLa varALi,varALi,____, behAg, suruTTi

08. shLOkam ( ay muraLi mukunda smEra) – kApi , hamsAnandi, sindhubhairavi

rAmanai taruvAi jagad rakSaka – sindhubhairavi – Arunachala Kavi

09. tiruppAvai ( vangAkaDal) – suruTTi – Andal

10. shLOkam (mangaLam kOsalEndrAya) – suruTTi

Another top notch concert by Ramakrishnan Murthy at the Seshadripuram College Grounds, yesterday. Pallavi probably was the low point of the concert, otherwise it was musically and in selection of composition was very impressive.

There was a slight strain in his voice, which was a mild irritant.  But it did not seem to trouble the artist in any way. On a listener’s part, I wish and pray that he take care of his voice as his music is precious and we need him to enthrall  us for many many more years.  The accompanying artist measured up to the main artist and it was a delight to see some of the work done by them to enrich the experience. Charumathi, especially, was very very impressive. Nice bowing, clear tonal quality, nice mannerism, good sense of proportion. Anantha can add a lot to the overall uplift of the concert. He with able supporting percussionist did some commendable job. I loved the initial few touches he did for the ahiri song. The percussion duo had two opportunities to show case their mettle. First one for mAmava pattAbhirAma, which was good but wasn’t measuring up to their caliber. However the second, post the pallavi, was of shear brilliance. Some nice intricate patterns for a mishra triputa tALa was delectable.

Back to the main artist. Nice, brisk varnam in kalyani to start the proceedings. Beautiful mayamalavagaula with some classy neraval at sarasiruha punnaga. Very well detailed and delivered, followed by some very impressive rounds of kalpana swaras. First alapana of the evening in bilahari. Ramakrishna Murthy started in such a wonderful way, but some how did not have the same impact for the rest of the alapana. However, Charumathi played a beautiful alapana. I was humming ‘intha kannAnandamEmi’ through out the alapana, but to our surprise, he sang a dasara pada, which is tuned in similar lines. To his credit, his diction was impeccable. Each words were clearly heard. Brilliantly selected neraval line, singing the first line for most part of the early stage and extending it to the complete line ( appropriate for the completeness of meaning). The kalpana swaras in two speed was equally good.

Two fillers of little impact , before the main. Somehow the ahiri kriti sounded a bit different. Anantha was a treasure to listen here. Bahudhari was good, hoped for a quickfire swaras to set the stage for a leisurely main. Manirang alapana was far better. His deliberations at the short mandra and madhya sthayi phrases were a beauty. Charumathi was good in her return too. Predictably, it was mAmava pattAbhirAmA. To me it was a dedication, marking my return from Sri Lanka ( albeit not triumphantly as Rama). This reminded me of an outstanding manirang witness at the same venue by TMK 6-7 years ago with a mesmerising neraval at ‘chatra chAmara’ ( goose bumps). RKM sang the kriti very well, but there was no neraval. He did cover it up with some awesome swara singing. I loved the split swaras at two places.

There was a real-time review of the concert by the organisers during the felicitation. Luckily, they wound it up pretty fast. RKM started a shortish pUrvikalyAni alapana with a clear intend of a pallavi. Tanam fared better. Pallavi was done with typical neraval style , but there was no trikalam. He sang a chain of ragamalika swaras and concluded it with a nice rollback through all those ragas with such an ease and pleasure.

There was enough time for a ragamalika shlokam followed by a sindhubhairavi composition and a tiruppavai. He extended the tiruppavai to a shlokam in the same ragam to conclude the concert.

 
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Posted by on April 28, 2016 in Uncategorized

 

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Ramakrishnan Murthy , M A Narasimhachar Music Foundation @ Gayana Samaja 22-Nov-2014

Vocal : Ramakrishnan Murthy

Violin : R K Sriramkumar

Mrudangam : K U Jayachandra Rao

Ganjira : Guruprasanna

List :

01  lEkanA ninnu – asAvEri – Thyagaraja ( O , S )

02  ninnE nera namminAnurA – pantuvarALi – Thyagaraja ( N,S )

neraval & swara @ ‘rAjillarAni tyAgarAja rAja rAghava’

03  marivErE gati evarammA – Anandabhairavi – Shyama Shasthri ( A, S )

04  vadAnyEshvaram bhajEham – dEvagAndhAri – Muthuswami Dikshitar ( A )

05 brOva bhAramA – bahudhAri – Thyagaraja

06 kSINamai tirugA – mukhAri – Thyagaraja ( A,N,S,T )

neraval & swara @ Edi jEsina jagannAthuDu shiramuna hrdayamuna vahinci

07  RTP – kApi – khaNDa tripuTa x 2 kaLai

pItAmbaradhara priya nAyikA, mAm pAtu(?) rAdhikA

rAgamAlika swaras in sAranga, nATa, suruTTi

08 kaNDudhanyanAdE – behAg – Kamalesha Vittala

09  viruttam ( cheDiyAy ) – sindhubhairavi

anri ulakam aLandAi – sindhubhairavi – Andal

10 mangaLam – saurAshtram – Thyagaraja

SLOkam ( mangaLam kOsalEndrAya) – madhyamAvati

Second concert in last 10 days from Sri Ramakrishnan murthy. This time with one of his guru accompanying him on violin. Despite my late arrival at home from travel and the tiredness of two days hectic physical activities, I decided to attend the concert braving the saturday evening traffic. It was worth all the trouble. Ramakrishnan Murthy presented another commendable concert at the Gayana Samaja for M A Narasimhachar Foundation.

Concert started 20-25 minutes behind schedule, The earlier performance was continuing as I entered the hall, bu Apoorva Krishna supported by N C Bharadwaj, both winners at the last Kalavanta competition. Ramakrishnan Murthy quickly launched into the asaveri kriti after humming the raga for a while. I can see varnam is now being skipped and the concerts are started with some big kritis. Asavei was good and the kalpana swaras that followed settled the onstage alignment perfectly. There was no hiccup through out the concert.

Pantuvarali kriti, not regularly heard came in soon with good amount of neraval singing and two speed kalpana swaras. I always like a pantuvarali or purvikalyani kriti upfront with neraval and swaras. It changes the overall concert feel to a different level. Aggressive neraval and swaras received equally aggressive percussion support, at time a bit too noisy. But that lifted the concert. A sedate anandabhairavi alapana came soon. It was a very very long time since I heard a god anandabhairavi alapana. Very appealing and emotive alapana from the singer was complimented by the master on violin. Marivere was no surprise , beautifully sung added with some good rounds of kalpana swaras at the lower speed.

Devagandhari alapana was ok. Somewhere I felt a tiredness in his voice, it wasn’t very clear at the higher octaves during this time. Despite his effort to bring some nice phrases in the alapana, I thought it wasn’t that great. But, he surprised here with singing vadanyeswaram bhajeham, sa I was preparing for kshitija ramanam to come. Haven’t heard this kriti many time before and hence it was very impressive. A quickfire bahudhari came in before main.

Mukhari alapana was fabulous. Typical to a long alapana he started off with the ultra slow, very moving phrases, slowly building the tempo. Top class alapana from Sriramkumar added to the overall impact. Kshinamai was awesome. Both in terms of the kriti presentation and the detailed long neraval and kalpana swaras. He started the neraval with ‘Edi jEsina jagannathudu shiramuna’ for a few rounds before extending it to the complete line and concluded the neraval with an awesome finish. Kalpana swaras followed a similar two speed pattern with some long culmination rounds at both the speeds. Mostly sung in sravalaghu , not many pattern oriented wizardry in his swara singing. The enthusiastic percussion duo played an impressive tani avartanam post main.

A short break for felicitation and thanks giving, before he started the kApi alapana for a short pallavi. Both alapana and the tanam were grand. Many aha and tch tch sounds across the hall, despite the depleting crowd. Alapana and Tanam took long time to conclude and hence pallavi was a bit shortened affair. Pallavi line was composed and structured by the musician on stage R K Sreeramkumar, as mentioned by the singer. Pallavi line was sung in two speeds followed with swaras in native raga and ragamalika swaras, as he did ten days ago at Nadasurabhi.

Post main largely a repeat of the nadasurabhi concert. The memory is still fresh and the audience are probably the same to a considerable extent. Kandu dhanyanade and the same viruttam in sindhu bhairavi followed the same pattern from Nadasurabhi concert, but he sang a thiruppavai instead of the devarnama here , before the closing the concert with the mangalam. In all, another wholesome concert with some memorable kritis.

 
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Posted by on November 23, 2014 in Uncategorized

 

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Ramakrishnan murthy , Nadasurabhi Annual Festival 13-Nov-2014

Vocal : Ramakrishnan Murthy

Violin :  H N Bhaskar

Mrudangam :  H S Sudheendra

Ghatam : Giridhar Udupa

List :

01  SLOkam ( sadguru gajAsyavANi) – shankarAbharaNam

dakSiNAmUrtE –  shankarAbharaNam – Dikshitar  ( S )

02  sogasu jUDa taramA – kannaDa gauLa – Thyagaraja

03  nIvADa nE gAna – sAranga – Thyagaraja ( A,N,S )

neraval & swara @ ‘ rAjIvAkSa sAdhujanajIvana sanAtana’

04  kOri sEvimparArE – kharaharapriya – Thyagaraja  ( A,N )

neraval @ ‘ shrI saundarya nAyikA varuNi shrI thyAgarAja varaduni paramAtmuni haruni ‘

05  trilOkamAtA – paras – Shyama Shasthri

06  nAdOpAsanacE – bEgaDa – Thyagaraja ( A,N,S,T )

neraval & swara @ ‘ tantri laya svara rAga vilOlulu’

07  RTP – varALi –  tisra aTa

pallavi line ” rAghavarA lIlA mAnuSa vESarA vEgamE brOva ‘

rAgamAlika swaras in ‘ aThANa , bahudhAri,behAg,kApi , surutti’

short tani avartanam

08  viruttam ( cheDiyAya vAlvinaikaL)  – sindhubhairavi

venkaTAchala nilayam – sindhu bhairavi – Purandara Dasa

09  SLOkam ( SrutvAl guNA bhuvana sundara) – behAg

kaNDu dhanyanAdE – behAg – Kamalesha Vittala

10  nI nAma rUpamulaku – saurAshtram – Thyagaraja ( all charanams)

SLOkam ( mangaLam kOsalEndrAya ) – madhyamAvati

What an outstanding concert it had been. Probably the best I’ve attended this year.  Enriching, fulfilling with a sense of completeness. Everything that presented was a gem.  Relentless rain in the city delayed the proceedings by 15 mins ; organisers waiting the eager rasikas who are stuck in rain to reach. The crowd in the beginning was sparse , however continue to swell in as the evening proceeded.

Concert started akin to the new TMK ‘paddhati’. No varnam, and a heavy kriti up in front. Dakshinamurte, was a grand beginning after a short shlokam and he continued with few rounds of kalpana swaram.  A kannadagaula kriti followed briskly with no adornment.  First alapana of the day was in Saranga, not very long but impressive. Violin return was even shorter. I wsa hoping for the dikshitar kriti, but it was nI vAdanE. Elaborate neraval was very very good and that sort of set the stage for greater things to come. Fabulous stuff. It continued to the kalpana swaras. He started very impressively with a ‘sa da’ jana jIvana sanAtana before rolling back to rAjIvAksha.

Kharaharapriya alapana was very detailed and awesome. Very leisurely begun,  meticulously progressed with typical phrases with a nice little twist in the middle. A little stretched voice on higher octaves, but clear and perfected execution. H N Bhaskar was equally good in his turn. Kori Sevimpa was a pleasant surprise. Another gem of a neraval followed. I am a sucker for neravals and love longish neraval lines.  He chose to sing the entire last charanam ( or the last 2 lines ) as neraval to my excitement. This wasn’t the main as he chose to close the kriti without kalpana swaras.

He started the bEgaDa alapana with such an aplomb. Fabulously constructed to a grand alapana. Mesmerising the audience. H N Bhaskar added to the fair with his expertise. It had to be nAdOpAsanache. Beautifully sang, added neraval again in detail added with two speed kalpana swaras to make it a grand main piece. By this time, I was all in admiration and would have taken in anything that he gave. Sudheendra was a live wire in percussion with ever impressive Giridhar Uduppa. The duo played an entertaining tani avartanam post the main.

There was more to come. He announced a short pallavi in varali. Well, even if he hadn’t done that, the concert would have made a mark. Probably on such a day when everything is falling in place, he wanted to go further. Varali alapana was very short by both the artists. Tanam however was fairly elaborate. He announced the pallavi in tisra ata, composed by his guru R K Sriramkumar. Pallavi was sung in two speeds and the usual trikalam wasnt there. However, he sang ragamalika swaras in both the speeds in line with the pallavi speed change to some good effect.

There wasn’t scope for many post RTP kritis as it was already well over 3 hrs. A nice viruttam before the devarnama was very nice. So was the shlokam before the behag kriti. He also sang the mangalam in full, all charanams starting at the pallavi line – nI nAma rUpamulaku. I’ve listened to Pantula Rama singing the entire mangalam. MDR, probably would have done that.

In all fabulous concert. One of the best of the year for me.

 
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Posted by on November 14, 2014 in Uncategorized

 

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Ramakrishnan Murthy @ Unnati Centre, 10 Mar 2011

Vocal : Ramakrishnan Murthy

Violin : B U Ganesh Prasad

Mrudangam : K U Jayachandra Rao

List:

01  duDuku gala – gauLa – Thyagaraja ( O )

02  rAmA nI pai – kEdAram – Thyagaraja ( S )

03  manasA eTulO – malayamArutam – Thyagaraj ( A,N,S )

      neraval & swara @’ kaLilO rAjasa tAma sa guNa mulu gala vArichelimi’

04  eTi janmamitihA – varALi – Thyagaraja ( A )

05  tuNai purindaruL – varamu – Papanasam Sivan ( S )

06  kaligiyunTE gada – kIravAni – Thyagaraja ( A,N,S,T )

     neraval & swara @ ‘ bAgug srI raghuramuni padamula bhakti jEsina rIti thyagarajunikipatu’

07  iDatu padam tUki ADum – khamAs – Papanasam Sivan

08  dharma SravaNa – durga – Purandara Dasa ( A )

09 viruttam ( UrilE kANavillE) – surutti

    vanga kkaDal kadaindu – surutti – tirupugazh

10  mangaLam – saurAshtram – Thyagaraja

      SLOkam ( mangaLam kOsalEndrAya) – madhyamAvathi

Beautiful concert by Ramakrishnan Murthy at the Unnati Centre, concluding the week long festival. I am listening to him live for the first time and he impressed one and al with his very traditional, controlled yet poignant concert lasting just over 2.5 hrs.

Started with a pancharatna kriti ( @ the person who spoke during the felicitation –  No Sir, there was no Varnam ) in gauLa and he displayed his skills and capabilities at the very beginning. To me the best of the day was the serene malayamaruta alapana. He was astonishing with some of his well executed phrases. He continued this with a brilliant neraval and some fascinating swaras. Varali alapana that followed was good, but was just that. There was no real catchy moments in the alapana. However, he overcome that with a fabulous rendering of eTi janmamitiha, a krithi, I am not that fond of.  

Tunai purindarul with some brisk swaras came in before the main keeravani. Alapana was the traditional, predictable line but very well built and progressed. It was good to see him staying on to the classical style with out going all over the place with his imagination and energy. Kriti started at the anupallavi, which I thought caused a minor loss of focus (to me) and I thought that wasnt called for. But the neraval was good, so was the swaras at two speeds.

K U Jayachandra Rao was all supportive, especialy after a couple of songs. He shown a lot of anticipation and added to the flair with some brilliant percussion support. His tani-avartanam was also of top class. On the othe side, BU Ganeshprasad did not live upto the expectations. He was good at his turns, in alapana or during neraval or swara playing, but during the singing he left a lot to be desired. Let me hasten to add that he did a phenomenal job during the Durga kriti post the main. Post main were also very interesting. An outstanding durga stood out of the rest. Khamas and surutti were equaly god and emotive.

Ramakrishnan Murthy is one of the youngsters to watchout for. He has the knowledge and skill and is using them the a great effect. Very easy singing without violent gestures or facial contours. He voice is pleasing and diction clear. May be he was a bit fast ( a notch or so) in the early part of the concert, but on the whole he has done a commendable job.

 
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Posted by on March 11, 2012 in Uncategorized

 

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