Vocal Shri TM Krishna
Violin Shri RK Shriramkumar
Mridangam (SK) Prof Tiruchi Shankaran
Ghatam Shri Prasanna
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Please suffix Honorific before the name of artists and the composer.
As this was a Tyagaraja Aradhana Festival, only Tyagaraja compositions were presented.
The song list:
1. Raksha Bettare – Bhairavi-Aadi
2. Enduku Nirdaya – Harikamboji-Aadi
3. Pancharatna Tanam (no ragams) followed by Endaro – Shree-Aadi
4. Shankarabharanam – Ragam Only
5. Nadachi Nadachi – Kharaharapriya-Aadi
6. Neenednu Vedakudura – Harikamboji-Aadi
7. Rama Katha Sudha – Madhyamavathi-Aadi
TM Krishna
- TMK give an excellent rendition of Raksha Bettare with neraval and weaving swaras along with an alaapanam that mixed with the tempo of
the song. Neraval was at Sangeethapriya.
- A brief sketch of Harikamboji followed and the kriti was neatly presented. TMK sang neraval and this was followed by a short Tani by Shankaran
sir upon TMK’s request
- A brilliant plan ‘ideated’ by TMK to pay tributes to Tyagaraja??? Whatever, I liked his plan. TMK started tanam in Naattai followed by the
respective Ragams of Pancharatna Kritis. RK Shriramkumar joined. Folks, it was brilliant. Both of them really weaved magic and RKS was
exemplary. He did not sing taanam for Shree Ragam, but straight away started Endaro.
He sang swaras @ Bhagavatha Ramayana Geetha… and wrapped it up with taanam along with the continued Mridangam accompaniment.
We can shrug this off as a gimmick. But it was high quality stuff, no doubt.
- TMK then sang Shankarabharanam, attempted certain sangatis which did not come. Is that the reason he ‘turned emotional’ and ‘wiped his
tears’?
RKS played excellent ragam and did whatever TMK tried to do. No Keerthanam for this. As per his innovation, an orphaned piece???- TMK started off with a viruttam (SHLOKA – “Ramaya Ramabhadraya…”) and then Nadachi followed, without the sketch of Kharaharapriya of
course. The prnounciation of BHA in Rambhadra GHU in Raghunathaya were apparently in TAMIL
You know, Tamil dosent have that thrust onBHA, GHA and THA etc. It was unsual from TMK. Brilliant singing with vilambakal kala Swarams. The edam chosen was tricky and confusing,
it was at “Ayodhya”. 6 aksharams from the first wave of the tala cycle if I remember correctly (please correct if I am wrong). It looked
intimidating. This was followed by an elaborate thani by the percussion team
- Yet another Harikamboji (Neenednu Vedakudura) and Madhyamavati followed which marked the end of the concert.
RK Shriramkumar
The best accompanist of the time, who is less hyped. RKS matched sangatis to sangatis, swarams to swarams all the time. Shankaranbhararam and the seamless transition during the pancharatna raga taanams are the highlights. He was also seen encouraging the much younger and less experienced ghatam vidwan who appeared to be a lamb amongst a lion, tiger and a leopard. (I do not want to decide who is the lion, who is the tiger and who is the leopard, please imagine yourselves) RKS has played a major role in lifting the concert to heights.
Tiruchi Shankaran
I can write lines and lines about Shankaran sir. I feel blessed whenever I think of my association with him. Time and again he has proved that he personifies the real percussion supporter who plays without obstruction. His teerumanams, sollus, and nadai variation during the musical accompaniment were matchless. I need not say about the thoppi…. TMK wanted Sir to play more and more gumukkis which he did readily and sportingly.
The first tani had a brief Khandam with trade-mark Chaturshra gati.
The 2nd thani had all the Palani-Shankaran ingredients. Shankaran sir slipped a bit while playing the first korvai. He paused and came back with double fire power
and the landing was perfect. Mishra nadai sparked off fire. The more you hear them the more you get addicted to them. Chaturshra and Mishra koraippu followed. Shankaran sir cleverly played a short korvai to reach the edam. The idea was simple and very effective. Some people say ‘Simplicity is the Ultimate Sophistication’One need not mention the ‘azhuttam’, weight, clarity and the tonal brilliance of his hands. Sir was using a local Mridangam (from the Govt Chembai Music College, Palakkad) and it sounded best. This proves that on any instrument, he can do wonders. He just picked two Mridangams from the 3 that was brought to his room before the concert.
Prasanna
Mere presence of stalwarts and celebrity psyched out this vidwan. He appeared tense and was not at home all the time. Mere presence of TMK and TS seem to intimidate him. Having said that, he could pull of the thani with that difficult and confusing edam. He slipped a couple of times during the koraippu session. The only solace was RKS who was smiling at him and constantly encouraging him. I learnt that he is a disciple of Vidwan V Suresh.
Notes – While the team was on the way back to the hotel after the concert, TS humorously told TMK that he left him in Ayodhya (the edam line of the main kriti – Ayodhya nagaramu … ) and that he had to walk all the way back. Also, he said such challenges need to be taken sportingly.
Overall a well spent 2.5 hours.
-- Raghav, Bangalore
If the leopard imagery still stays, fast and nimble and graceful as one fits him.