Flute : Mala Chandrasekhar
Violin : Nalina Mohan
Mrudangam : Sankaranarayanan
Ghatam : Sukanya Ramgopal
01. varNam – kalyANi – ?? ( I came in after this)
02. mahA gaNapatim – nAta – Dikshitar ( S )
03. padavini – sALagabhairavi – Thyagaraja
04. sankari samkuru chandramukhi – sAvEri – Shyama Sasthry ( A,N,S )
neraval & swara @’ shyAmakrishNa sOdari..”
05. nATi mATa marachitivO – dEvakriya * – Thyagaraja
06. SrI subramanyAya namastE – kAmbOji – Dikshitar ( A,S,T )
07. enna tavam seythanai – kApi – Papanasam Sivan
08. RTP – kalyANi , vasantha , bhairavi – chaturasra triputa x 2
pallavi line “dEvi pAhimAm nityakalyANi, vasantha bhairavi”
tanam and pallavi in kalyAni, vasantha and bhairavi
ragamalika swaras in kalyANi, vasantha, bhairavi , kalyANavasantham and vasantha bhairavi.
09. katrinilE varum gItam – sindhubhairavi ? – Kalki Krishnamurthy
10. nAnEke baDavanO – behAg – Purandara Dasa
11. thillAna – khamAs – ?
12. bhAgyAda lakshmi bAramma – madhyamAvathi – Purandara Dasa
13. maithreem bhajatha – rAgamAlika –
14. mangaLam – saurAshtram & Sri
Extremely pleasing concert yet again by Mala Chandrasekhar yesterday at the Nadasurabhi. I reached as the varnam was concluded. I guess it was Kalyani, from what she mentioned before the pallavi. Very well planned and executed concert, with some classy rendering of Saveri and Kamboji and to add to that a well crafted intelligently executed pallavi in three ragas.
The evening started for me with the Nata kriti, concluding with some nice set of swaras. She played a quick ‘padavini’ before launching a short nice alapana in Saveri. Shyama Sastry’s kriti was sung amidst some brilliant accompaniment. I especially liked the way Nalina Mohan played the neraval and kalpana swaras for Saveri.
Before the main, there was a quick filler of ‘nATi mATi’ in dEvakriya. Mala announced the kriti and said ‘kalAnidhi’ as the rAgam. I’m pretty sure she played nAti mAti ( in dEvakriya) and not ‘chinna nADEna’ in kalanidhi. I guess, it was a slip of tongue on her side.
Kamboji alapana was grand from her with an even better return play by Nalina Mohan. Sri Subramanyaya Namaste was classy affair. The kriti and the elaborated kalpana swaras that followed was fabulous. Percussion support was very good through out. Sankaranarayanan, I am seeing for the first time, did more than enough to lift the overall effectiveness of the concert. The duo continued with a spirited tani avartanam with some interesting pass of handle ( similar to what we see in panchavadyam) during the final phases. It could have been a bit shorter, though.
There was a request for a pallavi during the felicitation, which she obliged. Pallavi was intelligently crafted in three ragas. The alapana was very nice, especially the smooth transition from kalyani to vasantha and vasantha to bhairavi ( to a lesser effect by Nalina). The tanam and pallavi ( singing in the same ragam as the line carry) was in all the three ragams which included trikalam. kalpana swaras was cleverly ( though predictable) in kalnai, vasantha, bhairavi, kalyana vasantham and vasantha bhairavi.
Post pallavi thukkadasa included a devarnama, bhagyada lakshmi, a thillana in khamas and maithreem bhajata done amicably. In all, a well balanced, complete in all aspect, highly satisfying concert which lasted nearly 3hr 30 minutes.