So without any newspaper publicity, their morning breakfast and awards function had a good turnout. I missed it on doctor's advice against greasy food. But whereas CNRK received the award in the morning, he was going to perform in the evening, and that too with Akkarai, Prasad and Udupa. No way I would miss it!
But first and foremost a disclaimer. It is foolhardy of me to write what follows to a highly knowledgeable assembly here. The subject is also a concert by the most unique musician since India became a Republic. Therefore kindly forgive me for I know not when not to speak.
I was hearing CNRK live after some years. He played his own invention,
the navachitravina.
Akkarai, Prasad, Udupa and the mic guy took some time to settle down. But Ravikiran seems to be a master of multitasking as well as melharmony. He synced with his instrument instantly and built the concert very well.
His instrument sounds very sweet. He doesn't need to fuss about mics. Every human voice or musical instrument has its own limitations. Humans also have physical limitations like breath and tone control. I find most stringed instruments noisy and lacking sweetness. One of the exceptions is Akkarai who always steals the show with her violin, like her sister did at the TMK show recently.
But today, the anointed Kalanidhi and his navachitravina (?) shone supremely for sweetness and versatility. Akkarai could hardly keep pace, and found her groove only in the RTP.
The music of Ravikiran is a grand statement of faith in the wholesome vocal tradition of Carnatic music. I heard only a singing voice in the navachitravina. His imagination is totally vocal. Neither Balachander, Emani, Doreswamy Iyengar, nor the famed violin masters, played solo in the 100% vocal tradition that Ravikiran lives and breathes. In fact, if there are any instrument-related limitations, I was unable to put my finger on it. The music flowed from his soul to his voice to his fingers to his vina and then to us.
The song list:
1. Gambhira Nata - Sri Vighnarajam Bhaje - OVK... an auspicious start.
2. Kannada Gaula-Ora Jupu - T... the Saint's glory of a song.
3. Varali - Kamakshi - SS... pure gold.
4. Navaratna raga malika - Rama Nama Ratna Hara - PD
5. Ananda Bhairavi RTP. Tanam raga changes Nilambari, Sindhu Bhairavi, Shahana.
Pallavi line (2 kalai adi)
Ananda Bhairavi Ramana Mamava Shambhava
Tani
6. Behag Tillana own composition
7. Bhagayada Lakshmi - Sriraga
8. Mangalam
Varali was a solid portrayal. It demanded a master kriti - Kamakshi by Shyama Shastri. I feel Varali holds up what's great in our Carnatic raga music. It has distinction, depth, dimensionality and designability in presentation. It has no doubt a pathos, but Shyama Shastri has transformed it into a profound prayer.
The choice of Ananda Bhairavi was welcomed by the audience. He played a short alapana, then tanam. The tanam belonged more to Akkarai. The raga changes were beautiful, and lacked the madness and drama witnessed in some other ensembles. The Ananda Bhairavi was pure vintage and he avoided the desi touch of (post edit: excuse any terminology errors here please
) antara gandhara and shuddha dhaivata etc. He joked that the pallavi line had
"Ananda by Ravi".
The Behag tillana showed his composing calibre. I would say Ravikiran would have faced a challenge to score in a tillana after the fame of Lalgudi and BMK tillanas. But I found the flow of the tillana again
1. Highly vocalised in gamakas
2. With many nadai and tempo beauties.
3. A clearcut sahitya charanam section.
4. Much scope for dance improvisation (solo and group).
I can say it is a wonderful tillana.
{[I will only say that the Purandaradasa composition was the analog of navratankurma. Too many ragas, swaras, twists and turns. One should never twirl a necklace too much
lest it break! (the composition describes the avataras as different gems in a necklace)]} Funnily, Ravikiran had something of improvisation also in Bhagyada Lakshmi Baramma. He made goddess Lakshmi step to nadai and such changes. When Sarasvati's grace comes, they say Lakshmi also obliges. So!
I feel the biggest two takeaways for me were:
1. Kala - the instrument and its mastery
2. Nidhi - the ocean of tradition in our vocal music.
God bless!
