While the morning concert at Narada Gana Sabha (Mini Hall), was more intense in classicism and depth , the evening concert at Vani Mahal had a populist feel, with popular and legendary ragas chosen.
Narada Gana Sabha: 10:00 AM.
Sri. Cherthalai Ananthakrishnan- Mridangam
Sri. Pudukkottai Ramachandran - Ghatom
Eranapai(Varnam)- Thodi-Adi-Patnam Subrahmanya Iyer
Tatvamariya- Reethigowla-Adi-Papanasam Sivan
Nija marmamulanu- Umabharanam- Adi-Thyagaraja
Arunachala natham smarami-Saranga-Rupakam-Dikshitar
Raghuvamsasudha-Kadanakuthuhalam-Adi-Patnam Subrahmanya Iyer
Paraloka bhayamu-Mandari-Deshadi-Thyagaraja
Bhogeendrasaayinam-Kundalavarali-Khanda Chapu- Swathi thirunal
Rama nee samana- Kharaharapriya-Rupakam-Thyagaraja
Chaliye Kunjanamo-Brindavana saranga-Adi-Swathi thirunal
Thillana-Khamas
Lakshmi Baramma.
Eranapai , the thodi varnam, played in two speeds, in single string Parur style set the stage for the concert.
‘Tatvamariya tarama’ was presented after a short alapana of Reethigowla…
‘Arunachala natham’ was played ,after a detailed bright raga alapana of saranga , in all the glory and grandeur of this dikshitar kriti on Shiva, with some interesting swara patterns..
Raghuvamsasudha in Kadanakuthuhalam , a masterpiece of Shri MSG, was played in a racy tempo. Rendering incorporated the western elements blending nicely into this Carnatic kriti.. Clarity and precision at breathtaking speeds, refreshing sangathis ..all added beauty to the presentation of this kriti, which demonstrated the scope of violin, speed, ability to create the nuances of global music on violin, and the universal relevance of the Parur-MSG tradition.
A brief raga alapana in Mandari, was followed by the thyagaraja krithi, ‘paraloka bhayamu’.. A series of well patterned and graceful manodharma swarams blended well with the krithi. Bhogeendrasayeenam in Kunthalavarali, in praise of Sri Padmanabha was presented next.
Main kriti was ‘Rama nee samana’, in Kharaharapriya (Rupakam, Thyagaraja). An elaborated alapana through four octaves, brought out the hues and colours of the raga in all its purity. Long beautiful phrases during the alapana, traversing the higher octaves with utmost precision and superb bowing and modulation, took the listeners to the extreme bliss.. This was followed by tanam with percussion accompaniment, before the kriti, with niraval and swarams. Perfect alignment with the shruthi, smooth and measured bowing, precision of notes and sangathis were the hallmarks of the rendering.. Thani avarthanam by seasoned artists Sri Cherthalai Ananthakrishnan (Mridangam) and Sri Pudukkottai Ramachandran (Ghatom) were very creative and well presented.
Chaliye Kunjanamo(Brindavana Saranga-Adi-Swathi thirunal) ,with a sweet & short raga delineation and a swara based improvisation in the charanam made the sweetest piece in the concert, with a hindusthani touch..
The NGS concert ended with the Khamas Thillana quickly followed by ‘Bhagyada Laksmi Baramma’.
Vani Mahal: 04:00 PM
Sri. Arjun Raghavan – Mridangam
Sri. Pudukkottai Ramachandran – Ghatom
Sarasuda(Varnam)-Saveri-Adi- Kothavasal Venkatarama Iyer
Gananadhane-Saranga-Adi-Periyasami Thooran
Ramaneepai- Kedaram-Adi-Thyagaraja
Anuragamule-Saraswathi-Rupakam-Thyagaraja
Manasa sancharare-Sama-Adi-Sadasiva Brahmendra
Sadamathim-Gambheeravani-Adi-Thyagaraja
RTP in Mohanam (Khanda Thriputa)
Sindhu Bhairavi Tarana
Bhagyada Lakshmi barama
Mangalam
The Varnam, played in two speeds in single string Parur-MSG style. This short piece itself demonstrated the perfection and command on the instrument by artist. Incorporated various techniques of the MSG tradition in fingering and bowing, like gamakams with speed, runs with plain notes, long bows, cut bows, staccato …. it goes on and on.. and the adaptation in violin sounded like a musical piece composed for violin..
Gananadhane in Saranga - crisp raga alapana and brisk swaras
Rama nee pai in Kedaram – a beautiful sketch of the raga, soothing rendering of the krithanam with innovative sagathis in ‘Thana villu’..
A mellifluous elaboration of Saraswathi set the meditative mood for ‘Anuragamule’ uplifting the listeners to the bliss..
Manasa sancharare in Sama, with a folk touch was followed with ‘Sada mathim’ , a fast number.
Mohanam, a masterpiece of the Sri MSG Bani, was detailed in the raga alapana, in the typical Parur style. Thanam was presented accompanied in Mridangam and Ghatom.
The Pallavi was based on the names of Krishna, ‘Madhava Keshava Madhusoodhana, sree hare Krishna’ followed with ragamalika swaramas in Anandabhairavi, Abhogi, Nalinakanthi, Hamsanandi, Kapi and Behag.
Young Arjun and senior Sri Pudukkottai Ramachandran provided very good accompaniment, constantly appreciated and encouraged by Dr. Narmadha. Thani avarthanam was presented for the RTP.
A sweet alapana of Sindhubhairavi and the famous Tarana , poularised by Sri. MSG followed.
The concert ended with ‘Bhagyada lakshmi baramma’ and Mangalam.
One of the specialities, I think, is that the tradition has perfected adaptation of the krithis, which are predominantly composed for vocal music, to suit and explore the wide scope of violin and the scientific techniques in fingering and bowing, giving them a new dimension in the solo violin concerts.. with an enriching and exciting musical experience. The measured bowing , at times so short and sometimes so long, the silences, modulations, combination of gamakam with speed, perfect shruti alignment, precision & stability of the notes, the Parur style Taanam, never ending sarvalaghu swarams, beautiful patterns, the cadence, the rhythm, harmony, aesthetic application of intelligence .... Everything adding to the musical moments....
Best regards
biju
Photo courtesy: facebook.com/drmnarmadhaviolin