Vocal : Vaikam Jayachandran
Violin : Trivandrum N Sampath
Mrudangam : Guruvayoor Sanoj
Ghatam : Elamkulam Deepu
01 ni daya rAdA nIrajAkshi ( varNam) – AndOLika – GNB
02. varasidhi vinAyaka – kAnaDa – HMB ( S )
03. paripAlaya sarasIruha – pantuvarALi – Swathi Thirunal ( A,N,S )
neraval & swara @ ‘ kamalA rasAnanAbja madhupa kaLakNTha shArnga sharAsana‘
04. pAlimpa rAva dELarA – Arabhi – Pallavi Sesha Iyer
05. sari samAnam deivamulEdani – viTapi – Spensr Venugopal ? ( set to tune by Sri T M Thyagarajan) ( A,S )
06. gOpAlam vidhi gOpAlam – kalyANi – Narayana Theerthar ( A,N,S,T )
neraval & swara @ ‘ gOpI janam gO madhyE vihAram’
07. mAdhava mAmava dEvA – nIlAmbari – Narayana Theerthar
08. SLOkam ( krishNAya vAsudEvAya) – dharmavathi? , hindOLam
vagalAdi bOdhana – behAg – Thirupathi Narayana Swamy
09. pullAy janikkaruthO – sahAna, maNirangu, SubhapantuvarALi – Mavelikkara N Ramanathan
10. lOkAdhipA kAnthA – yadukula kAmbOji – Kathakalipadam from Dakshayagam
11. Sankara SrIgiri nAda prabhO – hamsAnandi – Swathi Thirunal
12. madhyamAvathi ( the last stanza of bhAvayAami raghurAmam) – Swathi Thirunal
It was a private setting. People leisurely gathered, after a sumptuous ‘tiffin’ recovering from an afternoon of memorable hindustani concert by young Anoop Krishnan. As the team settled in on the stage with the amplification is trying to cope with the echo of the hall, which they did manage to overcome to some extend, Vaikom Jayachandran and the team started their concert with the GNB varnam. The Muthaiah Bhagavathar’s kAnaDa kriti on lord Ganesha came in with some nice rounds of swarams. The team had came into the groove towards the kAnaDa swaras and the rest of the evening was extremely pleasing despite the kalyani.
Pantuvarali always has the ability to lift a concert to a greater height, especially when sung at the beginning of the concert with neraval and swaras. A short alapana followed by Swathi kriti, delivered brilliantly. The elaborate neraval and some classy rounds of swaras had induced the energy to the concert which stayed such until the end. One could see a visibly moved Sampath, gesticulating and following every nuances of the neraval and the swara that came in. After an Arabhi filler, came another classy alapana. One was breaking the head to decode the raga, and probable choice was ‘supradeepam’. The singer came to our rescue, announcing it as viTapi. Violin return was brisk and followed the similar pattern set by the vocalist. The kriti, was told by Sri Jayachandran, was set to tune by his guru, Sri T M Thyagarajan. Few rounds of swara added flair to the raga and kriti.
Kalyani was the main with an elaborate alapana came in all its grandeur. Sampath’s return was equally eloquent. Narayana Theerthar tarangam was a surprise. I havent heard this before. Set to Mishra Chapu, it provided ample scope at the neraval, and full justice was given to the line ‘gopijanam go madhye viharam’. The percussion support, was top class through out. They continued their good run with a well played out tani avartanam.
Post main was largely with popular choice. The kathakali padam in yadukulakamboji stood out from the list, which included the malayalam song pullay janikkarutho ( on a listener demand). he concluded the concert singing the madhyamavathi part of the bhAvayAmi raghurAmam. A beautifully planned and executed concert.