Vocal : O S Thyagarajan
Violin : Vittala Rangan
Mrudangam : B C Manjunath
01. enduku nIrdaya – harikAmbOji – Thyagaraja ( O,S )
02. sundaratara dEham – pantuvarALi – Thyagaraja ( N,S )
neraval & swara @ ‘rAgAdi samhAram rAghavam udAram’
03. nArada gAnalOla – aThANa – Thyagaraja ( S )
04. karuNA ElagaNTe – varLAi – Thyagaraja
05. rAmA nI samAnamevvaru – kharaharapriya – Thyagaraja (N,S )
neraval & swara @ ‘ paluku palukulaku tEnEloluku mATalADu’
06. sItA manOhara – rAmamanOhari – Thyagaraja
07. kSINamai tirugA – mukhAri – Thyagaraja ( A,N,S )
neraval & swara @ ‘Edi jEsina jagannAthuDu shrIramuna ‘
08. ika kAvalasinadEmi – balahamsa – Thyagaraja ( S )
09. sattalEni dinamulu – nAganandini – Thyagaraja
10. E tAvunara – kalyANi – Thyagaraja (A ,N,S,T )
neraval & swara @ ‘shrIkaruDagu tyAgarAja karArchita’
11. kANa vENDAmO – shrIranjani – Papanasam Sivan
12. sadA enna hrdayadalli – behAg – Vijaya Vittala Dasa
13. vinAyakuni – madhyamAvati – Thyagaraja
14. mangaLam – saurAStram – Thyagaraja
Rasanveshanam series of concert is back after a long time, and this time with another big name known for his traditional approach to music. As Sri Sachi mentioned in his ‘kick-off’, O S Thyagarajan , disciple of T M Thyagarajan, sang at the residence of V Thyagarajan, a concert mostly of Thyagaraja compositions. OST on his part had a free flowing concert. Neraval for 4 compositions, kalpana swaras for 7 kritis, two brilliant alapana , one in mukhari and the other in kalyani, made the day memorable.
Concert started a bit uncoordinated between the three players and it took 3-4 songs and a few tweaking of mike before it seemed smooth. Manjunath probably took a while to adjust or as some one mentioned there was a shruti alignment issue with the main singer. First one hour or so, it wasn’t in top gear. But from kharaharapriya onward, it sorted out by them.
OST, as expected presented his concert almost entirely on Thyagaraja compositions, as the musical world was elebrating the 250th birth centenary of the composer. The mix was intelligent. Few heavy ones in mukhari, kalyani and kharaharapriya with few rare ones in balahamsa, rAmamanOhari, nAganandini etc.
Mukhari and kalyani stood out for their detailed treatment and the way he went about them. Both mukhari and kalyani alapana were awesome. Largely done in short spurts of phrases in medium tempo, gradually singing few longish akara phrases he brought about the intrinsic beauty of mukhari to the fore. I notied, he did not attempt too many higher octave ‘sancharas’ in either kalyani or mukhari. Vittala Rangan’s mukhari was equally brilliant. He played a few mesmerising takes in his turn creating instant responses from the audience. Kalyani was largely structured in the similar fashion but was mostly around the ‘intellectual feel’ of the ragam than the ‘evocative feel’ of the raga for most part. He, however,closed the alapana with a nice melodious phrase. Both mukhari and kalyani neraval was traditionally structured in two speed, followed with two speed kaplana swaras.
HE sang for full 3 hrs and paced his concert very well. I did have my moments of doubt when he moved on to 6 kritis in succession without an alapana, but I think that was deliberately done. HAving said that, I would have still preferred another alapana on that day, given the overall build up and responses. Post main, Manjunath played a tani avartanam to his credit playing some improvised patterns. I am not a great fan of one-man tani avartanam.
He sang a couple of kritis before looking at his watch and concluding, indicating it’s sharp 8:00 pm to Manju. That was 3 hrs of intense, break-free music to a record attendance for a ‘home concert’. He is coming back to the same area in exactly one week, to sing again at Ranjani Fine Arts.
PS : It would be grave injustice on my part if I do not acknowledge the hosts of the evening. As always, Sri Thyagarajan and his family made excellent arrangements and they probably had one of the largest turn out of their home concert ( under the Pranava Arts). My sincere appreciation to their efforts.