Smt Charulatha Ramanujam - Violin
Sri Arjun Kumar - Mridangam
Smt Sukanya Ramgopal - Ghatam
08 January 2012
Sri Rama Lalitha Kala Mandira, Basavanagudi
padavini - sAlagabhairavi - Adi-1 - T (sketch, S)
Ananda naTana prakAsham - kEdaram - cApu - MD (R, NS @ sangItavAdya)
himAcalatanaya - Anandabhairavi - Adi-1 - SS (RS)
kAlait tUkki ninRu - yadukulakAmbOdhi - Adi - Marimutha Pillai (.)
shrIkAnta nI - bhavapriya - Adi - T
dakShiNAmUrtE - shankarAbharaNam - jhampa - MD (R, NS @ nivikaLa)
tani
iDadupadam tUkki - khamAs - Adi - PS
mauLava gangA - viruttam in mAyAmALavagauLa, sahAna, kApi, darbAri kAnaDa
candra cUDa - darbAri kAnaDa
tillAna in pUrNacandrika by Poochi Shreenivasa Iyengar
mangalam
sALagabhairavi did not have much grr and ndd, but nonetheless made for a different and interesting beginning. kEdAram was good. I love kEdAram.
The AlApanai was somewhat tailored for the krti, which is a good thing. The neraval's mElkAlam was a little too brief for my liking, but was good nonetheless. I'm guessing Ramakrishnan feels people are yet to even accept neravals without swarams following them, so I, having seen much evidence of it in this forum, sympathise. The kOrvai finale in kEdAram was very nice.Anandabhairavi rAgam was very good. The percussion department was a little aggressive during this composition, and I liked it.
I felt more feeling could be put into the rendition of the caraNam. I also felt that the swarams were unnecessary, and somewhat hurried, with no pauses to contemplate on how to bring rAgabhAvam better.The rendition of kAlaittUkki was soulful.
The shankarAbharaNam AlApanai was beautiful. It had the sAranga snnd, which seemed deliberate initially, but was repeated again towards the end. Smt Charulatha's AlApane included it too. There were occassionally some long kArvais in Ramakrishnan Murthy's AlAp, which weren't followed by something which should have come after contemplation during the kArvai.
The percussion was rather intrusive during the neraval for dakShiNAmUrtE. What with the tALam being jhampa, it must have been difficult to anticipate what Ramakrishnan or Smt Charulatha had in mind during the "normal" (as opposed to mElkAla) neraval, since it was not entirely according to the song's meter either. A sarvalaghu accompaniment would have been comfortable for Ramakrishnan, Smt Charulatha as well as the listeners during the normal neraval. However Ramakrishnan made interesting usage of the pa sa in the sAhityam turning them into svarAkSharams once or twice. I wasn't able to read the lyrics in Smt Charulatha's replies, this krti not being familiar to me ... she might have done that too.
The mElkAla neraval was excellent.
Swarams were sarvalaghu and very nice. There was also a beautiful usage of r-p-r by Ramakrishnan, which Smt Charulatha also included in her reply. Shankarabharanam is such a beautiful rAgam.
The tani was very enjoyable. In particular, Smt Sukanya's replies corresponded to what Sri Arjun Kumar played, and were very impressive.
The sahAnA in the viruttam was marvellous. I felt so sorry to leave ... but it was getting late for me.
