SUGUNA VARADACHARY IN KGS- 6/9/18

[CRama]

As a part of the Gokulashtami Celebrations, Guru Suguna Varadachary presented a wholesome concert accompanied by Dr. R.Hemalatha on the Violin, Manoj Siva on the Mridangam and Adambakkam Sankar on the Ghatam. The concert started at 6.30 and concluded at 9 P.M. List of songs.
• Vasantha varnam
• Bhavaye Gopabalam- Pushpalathika- ST (S)
• Kuthakayay edutha pala piravi- Virutham- Kambodi
• Parthasarathy un padam paninthen- Kambodi- Ambujam Krishna (N,S)
• Odanu jaripe muchada ganare- Saranga- Nauka charitram- T (R)
• Chalu chalu- Saveri- Nauka charitram- T (R,N,S)
• Sree Parthasarathy- Sudhadhanyasi- MD
• RTP- Shanmugapriya- Tisra Triputa-
• Vennai Tinna chinna tanama Venugopala
• Thani avartanam
• Bhajare Gopalam- Yamuna kalyani- Sadasiva Brahmendra
• Mananilai ariyenadi- Bagesree- Neela Ramamurthy
• Makulamuna- Mangalam- Nauka charitram- T- Suruti.

It was a concert of high standard from the great vidushi involving all elements of music presented in a very scholarly and engaging manner. Decades of performing experience is reflected in meticulous planning- she included a pallavi also besides the number of kritis with ragam, neraval and swaram. All the songs were on Krishna - most appropriate for the occasion.

Bhavaye Gopabalam- the rare composition of Swati Tirunal in the rare ragam Pushpalathika is special to the Musiri school. The kriti was rendered with the multi layered sangatis and topped with some swara passages. The virutham Kuthakayay edutha piravi was presented in a very detailed manner revealing the minute nuances of Kambodi and followed with the grand rare composition of Ambujam Krishna on the presiding deity of Triplicane. Elaborate neraval on the lines Paarthanukku Geetai parindupadesitha Parthasarathy revealed her scholarship and abundant imagination and the following swaram were very intricately crafted. The next kriti in Saranga is very much new to me. Chalu Chalu- another kriti from Nauka charitram was presented with due elaboration of ragam, neraval and swaram. After so many kritis, the RTP in Shanmugapriya came as a bonanza. Raga was elaborated in two stages with detailed tanam, and elaborate swaram in two kalams crowned with the customary trikalam. There were no ragamalika swaram.

Aiswarya Sankar provided vocal support. She followed her Guru deligently and presented a few rounds of swaram in the RTP. Dr. Hemalatha provided very good support in her alapanas and violin returns. The percussion team was unobtrusive and played with complete understanding and anticipation. An excellent concert.

[Sivaramakrishnan]

*Yes, Bhavaye Gopabaalam is a favourite item of the Musiri school and I have listened to TK Govinda Rao rendering it. Among contemporary singers, I have often often heard it from Bombay sisters who lace it with neraval and swaraprastara in abundant measure.

MS's rendering of 'Ikanaina' (Tirupati Narayanaswamy) in this raga is also very famous.

*Were the lyrics of Bhajare Gopalam sung in Yamuna kalyani same as the more popular Hindolam version famed by DKP?

* I have not heard any other kriti (except the pallavi) and the concert seems to be demonstrative of very rare uruppadis which CRama's brief review has listed out.