Sri D.Sesha Chary & Sri. D.Raghava Chary
Sri H.K.Venkat Ram- Violin
Sri. Mannargudi Eswaran- Mridangam
Sri. Madipakkam Murali- Ghatam
Era naa pai- Thodi Varnam- Adi- Patnam Subramanya Iyer
Inthanuchu varnimpa tharama- Gundakriya- Adi-Tyagaraja
orajupu-Kannada gaulai-Adi-Tyagaraja
Sri Kanthimathim- Hemavathi-Adi-Muthuswami Dikshithar
Bagayanayya - Chandrajyoti-Adi-Tyagaraja
Paripalayamam-Ritigaulai-Rupakam-Swati Tirunal
Krupa juchutaku velara Rama-Chayatharangini- Adi-Tyagaraja
Akshaya linga vibho-Shankarabharanam-Misra chapu-Dikshithar
Challare Rama-Ahiri- Tyagaraja
Nanoru vilayattu bommaiya-Navarasa kanada-Adi-Papanasam Sivan
Chelinenetlu sahinthune- Pharaz-Adi- Patnam Subramanya Iyer
Mangalam
Patnam subramanya iyer’s thodi varnam sung flawlessly and with simple and yet sparkling purity still rings in my ears.In 2 speeds. Gave such a lift to the concert. Orajupu was rendered with a lot of bhavam, reflecting the great composer’s mood in this composition.
The Hemavathy raga alapana was sung by Sri Sesha Chary. Such an enchanting ragam rendered in such an enchanting way. CM has never ceased to awe me because there is such fascinating dissimilarity in similarity , just as in genetics. Hemavathy which differs just in one note from Kharaharapriya is so very different from Kharaharapriya , has a soul of its own. This was brought out so well in sri Sesha Chary’s alapana..Especially the mandara sthayi parts.In perfect unison with sruti, taking time to savour every note. And MD’s masterly composition Sri Kanthimathim was sung. I never get tired howmany ever times i listen to it. So lovely.
Akshaya lingha vibho is one krithi which tops my list of Shankarabharanam krithis. The alapana was done by Sri Raghava chary. Sedate, unhurried, full of sowkhyam. The niraval at Badari vanamula was remarkable. Sri Sesha Chary’s voice had such an enviable range, touching upper madhyamam with effortless ease and fluidity and sounding just as good as mandara sthayi singing.. I agree with you Bilahari, when you talk about his amazing voice range in another thread in this forum!
What was striking in this concert was Reeti gauli. It was sung in the gap between the submain and main krithis which is usually reserved for quick fillers. But to my surprise and delight it was sung in detail and I actually liked the effect. It was sheer sukhanubhavam to listen to Sri Sesha chary’s alapana. Soulful. I for a moment thought it was paripalaya, paripalaya immortalised by MDR, but it was Swati tirunal’s paripalayamam. It was almost 20 minutes long (taking a leaf out of Rajesh Nat’s book
) and I enjoyed every minute of it. ‘
After a poignant ahiri came Cheli nenetlu sahinthune.... I have heard jetspeed versions of this javali. Sesha Chary sang it in a slower rhythm with extraordinary bhavam , with everchanging rhythm and vocal modualtions and lilt and with his clarity in sahithyam, that it is not the feet but the heart which dances with this javali.
The violinist raised to the sowkhyam mood of shankarabharanam. Sri mannargudi easwaran was elegance personified in his playing. Every piece was accompanied with subtleness, dignity and very good nadam from his mridangam. I think it is a great privilege for a musician to be accompanied by an artist of his calibre.
