Amrutha Murali, Bridgewater, NJ Concert - May 5, 2012

[Ramaprasad]

Amrutha Murali (Vocal)
R. Hemalatha (Violin)
J. Vaidyanathan (Mridangam)

1-Sada Bala Roopabhi Vignatri Hantri –Slokam [Adi Shankara]
Vidulaku Mrokkeda_Mayamalawagowla_Adi. Thyagaraja [S]
2-Birana Varalichchi_Kalyani_Rupaka. Shyama Shastri. [S. Neraval at Shyama Krishna Sodari]
3-Ni Vera Kula Dhanamu_Begada_Adi. Thyagaraja. [A, S]
4-Sri Viswanatham Bhajeham_Chaturdasha Ragamalika_Adi. Dikshitar
5-Kripa Juchutaku_Chayatarangini_Adi. Thyagaraja
6-Karuna Judavamma_Thodi_Adi. Thyagaraja
7-Pacchai Maamalai Pol – Pasuram_Ragamalika in Kapi, Hamsanandhi and Sindhubhiaravi.
Thondaradipodi Azhwar
The sloka was followed by Thirupati Venkataramana in Sindhubhairavi_Adi. Purandaradasa
8-Pavamana - Mangalam


May 5, 2012
This was the second concert of the afternoon, arranged by CMANA, following that of Suryaprakash. This was a well sung concert, with a slow warm up to the Dikshitar kriti. Amrutha is quite comfortable in the lower and higher sthayis leading to an aural spectrum melodious on the ear. With a slokam on Vigneshwara, she delved into the not often heard Vidulaku in Mayamalawagowla. It was rendered with a dignity befitting this raga and the kriti. By the time she came to the Begada kriti, it appeared to me that she had her voice warmed up for a very imaginative description of this raga, with great sancharas across the octaves and masterful gamakas.

Her mature musicality was demonstrated in the very well rendered Dikshitar kriti. The ponderous, meditative ragamalika was handled majestically, with seamless transitions into the ragas. It was music at its most enjoyable and she and her accompanists delivered it for our enjoyment.

The Chayatarangi piece gave enough buffer for the musical mood to shift to Thodi, which was handled with equal ease and fidelity. The pasuram, centered on Srirangam, with ragamalika sewn in, made a fit finale to the concert. Again, the non-availability of the venue beyond a certain hour did have a disappointing moment for the rasika, and a curtailment of musical outpouring from the artist.

Both Hemalatha and Vaidyanathan are veterans of the music stage and their mature musical collaboration with Amrutha Murali deserves a more competent write up. The music from the violin was a second harmonious and resonant voice. The percussion was the right framework for the raga to fill into. A short, but musically very elevated, evening.

[annamalai]

[quote="Ramaprasad"]
1-Sada Bala Roopabhi Vignatri Hantri –Slokam [Kanchi Paramacharya?]

Sada Balaroopabhi is the first slokam of Subramanya Bhujangam on Lord Subramanya of Tiruchendur composed by Adi Sankara Bagavathpada. The first slokam invokes on Lord Ganesa.

Vijaya Siva sings this slokam as the opening slokam in concerts. I have heard KVN sing this slokam in some concerts. There is a very nice recording of T. Balasaraswathi rendering all the slokas of Subramanya Bhujangam in ragamalika. KVN learnt music from Balasaraswathi.

[Ramaprasad]

Thank you, Annamalai. I have made the correction above.