Kalyanapuram S Aravind on Jan 19th 2014 - aandavan ashram

[Rasigapriya]

1) Vanajakshi - Kalyani, Adi (Srimad Andavan Thaniyan and Swaras)

2) Thulasidhala Mulache - Rupakam, Mayamalavagowla, Swami Thyagaraja

3) Evvarikai Avatharamu - Misrachapu, Devamanohari, Swami Thyagaraja (R,N)

4) Karuppuram Narumo - Kanda Chapu, Purvikalyani, Andal Pasuram (R)

5) Pakkala Nila Badi - Misra Chapu, Karaharapriya, Swami Thyagaraja, (R,N,S,T)

6) Oruthi Maganaai Pirandhu - Adi, Behag, Andal Thiruppavai

7) Vaaridhi Gattina - Misra Chapu, Kapi, Bhadrachala Ramadasu

8) Ninama Rupamulaku - Adi, Saurashtram, Mangalam


Accompaniments were:

1) Sri SP Anantha Padmanabha on the Violin
2) Sri NC Bharadwaj on the Mridangam
3) Sri Harihara Subramaniam on the Ghatam


This is a concert review I have been wanting to post since the date I attended the concert.. But, Something else or the other was keeping me pre occupied. Another quality concert by Aravind in the recent past. Aravind's sangeetham is quite a different league when compared to his peers who sing. But, unfortunately, the society needs to bring to more attention, singers like these.

The Concert took off with a bright and sowkyam filled Kalyani Varnam in Adi Thalam. As usually done by Sri TNS's school, Aravind followed the same footsteps to render a few rounds of brisk effervescent swaras at the Charanam, Nee Lupa Rani. I then only realised that the sarva laghu patterns offer a lot of scope to explore one's manodharma. Aravind excelled in potraying his sarva laghu singing skills that day in the Kalyani Varnam. This piece itself set a fantastic atmosphere for the concert to progress.

The next composition he rendered was Thulasidhala mulache santhosa muga of Thyagaraja Swami in Mayamalavagowlai. Full justice was done in conveying the emotion of the composition to the audience. Being a melakarta ragam, various facets of the ragam were portrayed in the sangathis of the composition. One more thing I observed in Aravind is that, the brigha laden sangathis his gurus sing are sung in the form of jaarus by which brings in a sense of more "Aaha" rather than a sense of "Wow". I think more youngsters can take up this point to improvise on their sowkyam aspect.

The Next piece he took for elaboration was a beautiful Devamanohari. Full justice was done to the grandeur of the Ragam. Singing all possible prayogams with ease, he was able to get the raga across to the audience with full of richness. The Song he chose was Evvarikai Avatharame of Thyagaraja Swami. Breathtaking paatantharam he had in rendering this krithi. Neraval was done at Modhasathanamaku in the charanam. Neraval singing was so profound, all sarva laghu patterns were exploited well to bring out the full color of the neraval.

This was followed by, a crisp Purvikalyani alapana, and to my surprise it was an azhwar pasuram "Karupuram Naarumo" which has been popularized by contemporary musicians in the raga Khamas. This was a quite interesting rendition. I think people need to taste this flavour of the rendition too.

The Main piece of the day was karaharapriya and the composition was Pakkala Nila Badi of thyagaraja Swami. Beautiful raga in a subtle kaala pramanam, with yeomen sancharas in the shadjam made the whole exercise of raga alapana, a very nice experience. The Krithi was rendered with fullest of all possible sangathis, laden with intricate brighas (in a sufficient quantity instead of overdoing). Neraval was executed in Manasuna Dalachi. While performing the neraval, very few keep the sahitya bhavam in mind. This artist is one of them. All the odhukkals, reminded me of KVN Mama, and it well matched with the sahitya Artham rather than it becoming merely a laya exercise. Swaras with various abhipraayams ranging from 5,6,7 and respective kaarvais were executed neatly. More than being a taxing effort, listening to aravind, it was an enjoyable experience.

Thani Avarthanam was a power packed one, Bharadwaj and Hari Hara Subramaniam justified their parts being Pakka vadhyams and not proving their talents individually when the singer is singing. Bharadwaj and Hari have reached a stage where they need more prominence than they are given now. The concert concluded with a thiruppavai in behag and Varidhi gattina of Bhadrachala ramdas. Sp. Ananthapadmanabha on violin too played role too well, being supportive for the concert in all the sense. Aravind needs to be projected more and deserves better slots in the upcoming music season. Let me pray to the Lord that this happens.