Vocal : TNS Krishna
Violin : Nishant Chandran
Mrudangam : K P Parameswaran
01 girirAja sutA tanaya – bangALA – Thyagaraja ( O,S )
02 muNDu vENuka – darbAr – Thyagaraja ( O )
03 shiva shiva shiva enarAdA – pantuvarALi – Thyagaraja ( A,N,S )
neraval & Swara @ ‘Agamamula nutiyinci bahu bagulEni bhAsalu cAlinci’
04 shLOkam ( apadamapa hataram tadaram) – khamAs
sujana jIvana – khamAs – Thyagaraja
05 marukElarA – jayantashrI – Thyagaraja ( A,S )
06 sAvEri rAgAlApana
shLOkam ( ambA sAmbhavi chandramauli ) – sAvEri
kanna talli nIvu – sAvEri – Thyagaraja ( A,N,S,T )
neraval & swara @ ‘anudinamonarincu satkriyAla nIkani palkina tyAgarAja rakSaki’
ragamalika swaras in nAta, Arabhi,varALi,bahudhAri,hamsadhwani,rEvti,bilahari, kuntaLavarALi, kadanakutUhalam, dEsh, bEgaDa, ____, nIlAmbari,______, malayamArutam, ranjani,_____, pUrvikalyANi, shrI, sAvEri
07 durmArgacharA – ranjani – Thyagaraja ( O )
08 ennagA manasuku rAni – nIlAmbari – Thyagaraja
09 viruttam (nanmayum selvamum) – hamsAnandi
shObhanE (started at anupallavi) – hamsAnandi – Thyagaraja
10 nagumOmu galavAni – madhyamAvati – Thyagaraja
11 pAhi kalyAna rAma – kApi – Thyagaraja
12 mangaLam ( nI nAma rUpamulaku) – saurAStram – Thyagaraja
What a fabulous concert. Stupendous performance by the young vidwan last evening at the Ranjani Fine Arts. Well,he did have few low points but I am willing to overlook all that for the way he sang the saveri, pantuvarali and jayanthashree. They were top class and will make his guru proud.
To me the real explosion, if I may use that word, started with the pantuvarali alapana. So much packed in that one. Some brilliant sojourn at the higher octave, the build up with which he progressed to the tarasthayi passages ( very typical of TNS himself), makes one to applause with out selfawareness. Many ‘aha’ moments. Brilliant wound up and conclusion. Breath taking neraval. K P Parameswaran made his presence felt with that one act of excellence at the beginning of the neraval. Equally strong kalpana swaras.
Jayanthashree alapana was a surprise. Not heard many attempting, the closeness to hindolam is evident. Interestingly Nishant Chandran did not play a return alapana here. Marukelara was not uncommon. And many sing swaras too.
Saveri alapana again was classy. Again I am impressed with the way he plan and execute the alapana. Nice mix of early short phrase, steady increase to some beautifully conceived long akara phrases, some impressive higher octave sancharas, some of the typical TNS style ‘up-down’ movements ( with a similar hand gesture) etc were pleasure to watch and listen. There was a couple of very innovative phrases too. Nishant Chandran played a commendable alapana in his turn. He was largely subdued and mantled the role of a supporting artist through out. As K P Parameswaran set to tune the mrudangam, Krishna started of with a nice shlokam from ‘Rajarajeshwari Ashtakam’. I personally like when a kriti is preceded with a shlokam, after the alapana. Now the indication are clear that the kriti is going to be one on ‘Devi’. Tulasi Jagajjanani or dEvi pAvanE were my choices. He again surprised us with singing another very rarely heard kriti of Thyagaraja’s Tiruvotriyur Pancaratna. I heard this only from his father in one of the AIR program. Neraval was again very very good , with a long neraval line to my liking. Very trademark TNS school swara prasthana befitting the main. Some of the intricate swara patterns were probably a bit complicated but the percussion support was awesome here, while violin might have found it too hard to mettle. He did not stop there. Added a garland of fast swaras in a bunch of varying ragas, some of them went in a flash even before my poor brain to decipher.
K P Parameswaran, one of the prime disciples of T K Murthy is not featured in Bangalore much. I am seeing him for the first time and what an impression he made last evening. His tani avartanam too was notable for the way it was presented. Very measured and structured, not trying to make the repeated sarvalaghu patterns to fill, not stretching beyond what is needed, yet making an impact. Good job overall.
Concert started with the bangala kriti and a darbar kriti following immediately. Darbar definitely wasn’t good to me. I thought it was too fast and a bit uneven in the kalapramanam. The overall concert in general as a notch faster than usual. But despite all that, he did a tremendous job. The way he mixed kritis, alapana, shlokams and viuttams, his command over laya evident in the neraval and kalpana swaras were impressive. If one closes the eyes and listens to him, one want blame for seeing the images of the senior in front of you.
An all Thyagaraja affair. Apparently, this being the 250th birth year of the Composer, organisers decided to pay homage to the Vaggeyakara. The above list is a result of the same. The post main too , barring a Tamil viruttam, adhered to the theme, with some nice picks.
I thoroughly enjoyed the concert and will make a point to attend his future concerts in Bangalore.