Here's something other than Sanjay/TNS/Vijay Siva/TMK!
TKV Ramanujacharyulu - Violin
Trichy Hari Kumar - Mrudangam
Kovai Mohanram - Ghatam
The seemingly truncated song-list in the Souvenir read as follows:
1. Nee Bhakti Bhagya Sudha – Jayamanohari – Rupakam – Thyagaraja
2. Bagayya Nayya – Chandrajyothi – Adi – Thyagaraja
3. Eti Janma – Varali – Misra Chapu – Thyagaraja
4. Evari Mata – Kambhoji – Adi – Thyagaraja
5. Miscellaneous
Browsing through it, I could be forgiven for presuming that the RTP had been omitted…but I had evidently underestimated OST’s manodharma – the vidwan spent over an hour and a half mapping out the contours of Kambhoji.
A departure from Ariyakudi’s Kutcheri Sampradaya was only one of the many re-assessments of conventional wisdom that took place on the day. The upside-down Kambhoji was another – once the formalities of introduction were completed, OST hastily clambered up to the Tara Sthayi where he dropped anchor for a good 25 minutes, hurling down a relentless torrent of brighas in what must be one of the most extraordinary demonstrations of musical stamina in recent times. Not all his innovations were appealing – the Karvai on the Tara Rishabham was impeccably perched but its bellicose spat with the tonic sent the raga bhava on a nose-dive until the Gandharam was invoked to restore order. That said, there were many other prayogas, especially some phrases around PMG, which were as musically appealing as they were unique.
The vocal ebullience continued through the neraval and swara sections and was suitably complemented by Harikumar and Mohanram’s swashbuckling tani. The second vinyasa round saw some splendid korvais in Thisram which was also blended with chatushram to derive a well-conceived Koraippu. Korvai, of 2 avarthas, was a farans-filled one with scant usage of karvais (I wonder if there is a technical term for this kind of korvai - Ram/Balaji/others?).
The violinist stuck to a more conventional interpretation with quick, sharp phrases which were in complete contrast to the singer’s approach. Ramanujacharyulu’s sruti sense was evident from his instantaneous responses to many of OST’s obscure phrases.
I do not wish to risk comparisons with Thodi Seetharamayya or Maha Vaidyanatha Iyer but it is good to see that elaborate alaapanas are in favour again although a Pallavi might have been a better choice as a follow-up than a Krithi. Minor carps apart, a great concert from this unpretentious maestro.