Violin - Nagai Sriram
Mrudhangam - Tanjore Murugaboopathy
Kanjira - KV Gopalakrishnan
Sonligst:
Ramabhirama – Adi – Durbar - Thyagaraja
Natajana Palini – Nalinakanti – Adi (RS) – Tanjore Subrahmanya Iyer
Kala Kala Kailainathan - Attana (Periyasami Tooran)
Vallinayaka – Shanmukhapriya – HMB (RN) – Adi
Nannu Palimpa – Mohanam – Thyagaraja – Adi (RST)
My entry was greeted with a full-throated rendition of Ramabhirama but the expected swaras did not materialize (not sure if there was an alaapana). They were instead saved for the excellent Nalinakanthi that was to follow. However it was young Nagai Sriram who was the star of the piece. The poker-faced violinist’s nimble fingers spun out a magnificent tapestry of lightning-fast sancharas, punctuated by crisp stops and soul searching karvais, indicating a musical sensitivity well beyond his age. Equally indicative of his caliber, were his remarkably accurate responses to TVS’ challenges in the swara section. I am tempted to draw comparisons with Srinivas and Shashank...
The emotional appeal of Shanmukhapriya was underlined with a string of tara sthayi phrases culminating in R2. The piece also featured the only neraval of the concert – an extended and satisfying one.
Mohanam was the longest item and TVS’ interpretation of the pentatonic scale was an imaginative and weighty one, worthy of his lineage. Nannu Palimpa, easily my favorite song in the raga, was fleshed out with many handsome sangathis although I believe purists advice against too many liberties with the second half of pallavi line (Na Prana Natha). Tanjore Murugabhoopathy’s (any relation to the great man?) leadership of the rhythm section was particularly noteworthy during the main piece. Swaras were dominated by the evergreen Mani Iyer style sarvalaghus – however, TVS was not averse to indulging in the occasional laya trip.
Murugabhoopathy switched gears to Khandam midway through his recital and wrapped up his solo with a rousing 2 avartha korvai in that nadai, drawing some well-deserved applause. The Kanjira was a little tempered in tone but provided some interesting variations on the mridangist’s theme during the koraippu after which the drummers reverted to khandam before concluding the tani with a 2 avartha korvai.
Goverdhana Giridhari in Durbari Kaanada was the highlight of the tukkada section and followed a Vruttham in Hamsanandhi and Darbari…Another delightful Vruttham in Surutti was sung before Vazhiya Senthamizhnadu (??), the Mangalam, in Madhyamavati – the audience was sparse but rose to convey their gratitude for an outstanding concert.
TVS was well supported by his children – his daughter, in particular, has a lovely, lustrous voice – can’t help wondering why they aren’t giving solo performances yet.
Surprisingly for a TVS concert, no English Note and no Eppo Varuvaaro…but, to be honest, as long as he takes us on those magnificent, Mani-Iyer nurtured swara sorties, he can sing his stock tukkadas a million times.
