Concert of TNS at SriKrishna gana sabha on 16-8-2007

[sarojaRamanujam]

The concert on 16-8-2007 of TNS at KGS

To say in one sentence those who attended this concert were fortunate.
Everyone of the items was a gem.
TNS was accompanied by V.V. Ravi on the violin, Srimushnam Rajarao on mridhangam and Vaikom Gopalakrishnan on ghatam. TNSKrishna gave vocal support.
TNS began his concert with Begada varnam followed by Devadeva of Swathithirunal in raga mayamalavagoula. Neraval- svaram was at sritha vibhudha and TNS gave it his own colour in by singing it as Asritha vibudha, elongating the AkAra at the end of mAmava.

Next was not often heard krthi of Thyagaraja ‘bhuvinidasuda,’ in Sriranjnani and the raga that preceded was beautifully rendered and the fantastic neraval- svara at padhamule gathi was given an added fillip by ending the svara in nishadha and making it sound’neepadhamule gathi.’

Then came one of the crest-jewels on the diadem of the emperor of ragas, subhapanthuvarali. Together with the krthi that followed, ‘srisathyanarayanam’ , of course, as suggested by the mellifluous raga alapana, the rasikas were taken on a trip to Badrinath and back. (To the elderly rasikas like me the real trip may be an impossibility and hence it was a welcome experience!) It was sarvam vishnumayam, that being the feeling which the music created to the rasikas.

‘Veeksheham,’ a composition of Narayanthirtha in Ahiri was the next and TNS started the song at ‘sAkshAth madhankoti,’ creating a picture of loveliness that was Gopala.

The main raga of the day was Kambhodhi and it was in a leisurely style beautiful and melodious full of bhava auguring the august arrival of ‘ORangasayi,’ preceded by the sloka ‘sacchittha sayee.’ The audience witnessed a careful and loving waking up of the Lord during the raga and the rendering of the krthi of Thyagaraja had all its splendour and devotional fervour which made the rasikas feel that they were in bhooloka vaikunta. The svara that was sung at O rangasayee was in-keeping with the general mood of the song, yet with all the grandeur of kalpana and laya.

Last but not least was the pasuram ;siruviralgal thadavi ,’ of periazvar , one of the specialities of TNS., and a favourite of his rasikas. When he sings this as in all other devotional pieces the rasikas can witness that what has been depicted by the lyric before their own eyes. A wonderful portrait of Krishna playing the flute was presented by the ragas through unbelievable manodhrma , the ragas being, Rishabhapriya, Nayaki, Bhagesri, Hameerkalyani, Kanada and Surutti.

The best part of the viruttham was the phrase ‘govindan kuzal oodhinapodhu in Hameer kalyani.’ TNS brought the sound of the flute in ‘oodhinapodhu,’ which brought ‘oohs’ and ‘aahs’ from the rasikas but the best was yet to come. TNS left it to Krishna to continue and he sang the phrase and how! He proved, ‘like father like son,’ and the manner in which he sang it was fabulous , similar to that of TNS but not same! He presented his originality while following the footsteps of his father. It drew applause twice from the audience within a short time span of one or two minutes. It is laudable since he had to be alert and capable waiting for the sign of TNS, as it could come at any time during the concert. Krishna’s rendering of the phrase brought a look of surprise not only to the faces of all around but also to TNS himself!.

The picture of Krishna (I mean the original!) playing the flute with His fingers dancing on it and with pouting lips and slanted eyes, with all the birds flocking to him and the cows listening even forgetting to move their ears, all was brought on the stage by the music of the duo. The oothukkadu composition that followed was . ‘kannallavo’ in Surutti, the beautiful rendering of which defies description. When TNS sang ‘kArmenikkattazagA,’ one could feel the charming form of Krishna in front and in the last line, ‘pecchennna inimele,’ he stopped the music for a split second to present the bhava of the lyric and continued with ‘chechecheche ‘ depicting the feigned disgust of Yasodha in shielding Krishna from the gopis who complain against him, to the amusement of the rasikas.

The concert ended with the thillanain Chandrakouns, one of his own compositions and a thiruppugaz followed by, mangalam.

After the experience of Bhooloka vaikuntam we were brought down forcibly to earth when we came out of the hall when we had to wade through the blaring light music at the temple opposite, (unlike on another occasion when I and my husband , fully immersed in the music of TNS from the same venue, got into an auto and were taken to vadapalani by a drunken driver instead of Abhirampuram).It was an onslaught on our eardrums. To add insult to injury, our auto driver had to sing in the top of his voice some film songs through out the way! Well ! That is life!

[bhaktha]

I have said it often and say it once again: I really donot know which is sweeter- TNS's music or sarojaramanujam ji's reviews. From the review I assume the concert must have been explosive (as is usual with TNS).
KGS's ambience, TNS's music, SVR's accompaniment, and to top it all- Gokulashtami series...it must have been sheer bliss!
-bhaktha

[arasi]

Sarojaramanujam,
As usual, your review was enjoyable to read. Your post script added another dimension to it. Quite a night, awakening to harsh realities after enjoying the concert...

[saveri]

Going by Saroja mami's statement, I should consider myself as one of the 'fortunate' ones that evening.

The accent of the evening's concert was fully on vishranti and lavish but elegant expressions.
TNS was in full form right from the Begada varnam till the Mangalam,lasting almost for 3 hours.

Sriranjani had a lilt, Subhapantuvarali was elevating , Kambodi was energising, with all the swaras of the raga being explored, at all octaves. All that one would get to listen in a RTP was heard in his handling of the swaraprasthara for O Rangasayi, merely a childs' play for the Kalanidhi.

Nayaki was the best in the viruttam ,with its myriad hues being presented in just a few phrases, with one line of the Pasuram being taken for elaboration in that raga. Bagesri, left us wondering as to how extensively even this raga could be handled , if in the right hands!!

Krishna made TNS a proud and joyous father-guru, with his huge elaboration of the Govindan Kuzhal oothinapodhu line in Hamir Kalyani.

The accompanists had a real challenge with the fielding exercise.
Sri.VVRavi, I thought took some time to really settle and he shone fully only from Subhapantuvarali. Sri.Raja Rao the veteran went along with the flow, though I felt he was a little loud at times. Vaikom Gopalakrishnan, was appropriate with his Ghatam and added a lot of vigour and gait to the concert

All in all an aural treat!!