Accompanists
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B.Ananthakrishnan
Delhi Sairam
K.V.G (k)
Song list
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1. Chalamela (varnam), darbar
2. Viruttam, Chediyaya valvinai, lathangi
3. Venkataramana, Sivan, ns @ alarmel mangai manaala
4. Ahiri, Mayamma, SS
5. Tiruppugazh?, Misra jhumpa, Perava ara vaimai, 8 ragas 1 per line
Hindolam, Kuntalavarali, Begada, Lalitha, Kadanakuthuhalam, Bageshree, Atana, Surutti
Swaras
6. Paridanamichite, Bilahari, K.chapu, PSI
7. Reethigowlai, Satguru swamikki sAtiyu ledani, Poochi, ns @ sadguna sri sarasaksha
8. Viruttam, Kadhalagi kasindu, Kannada, hamsanandi, kedaragowla, Behag
9. Adum chidambaramo
10. Tillana, Kapi, MDR
Observations
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1. It all started pretty normally - like many kucheris. With a varnam with 3 speeds IIRC. The energy level was high, sweetness in the voice was in abundance and mood was relaxed as befits a December morning.
2. The viruttam set the tone for the 1st part of the concert. I have heard this viruttam a million times - past masters, up and coming newbies and everyone in between - never quite like this. The music and the notes spoke the worlds as it were juxtaposing the Grandness of the Lord and the abjectness of the devotee in contrast.
செடியாய வல்வினைகள் தீர்க்கும் திருமாலே!
நெடியானே! வேங்கடவா! நின்கோயி லின்வாசல்
அடியாரும் வானவரும் அரம்பையரும் கிடந்தியங்கும்
படியாய்க் கிடந்துன் பவளவாய் காண்பேனே
Attention was lavished on the phrase "Padiyai". Lathangi sometimes gets impugned as a "scalar" raga - but we were witness to its magnificent scalar self forming the carefully laid out steps leading up to Venkatramana. The theme carried over to the swaras with some brilliant sawal-jawab with the violinist.
3. Ahiri alapana was mellow. Phrases were given enough time to sink in, quick flashes provided the briskness to keep the rasikas attentive. The kriti was rendered soulfully expressing the bard's angst in maatlaada rada most poignantly.
4. The 8 raga tiruppugazh was a clinic of sorts. I have not heard this piece before or any piece rendered in this fashion. The kriti was rendered first and then kalpana swaras in the same ragas, forward and backwards with different groupings. Left the audience breathless, not to mention the accompanists.
