Vid. Charumathi Raghuraman - Violin
Vid. N.C Bharadwaj – Mridangam
Organized by Mayura.
ParamAtmuDu veligE – vAgadISvari – Adi - likely preceded by rAgam – I missed it
kancadaLAyadAkshi – kamalAmanOhari – Adi – neraval @rAkA SaSivadanE and svarams
Suddha SavEri – rAgam
tAyE Tripura sundari – khanDa cApu ( tiru PeriyasAmi tUran composition)
behAg rAgam- RTP
tAnam – rAgas : bAgESri ( violin) , hindOLam (vocal)
Pallavi: khanDa tripuTa tALam 2- kaLai - sundu viral arai eduppu (little finger 1/2 offset take) . Arudhi kArvai – 5
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||,,,, ,,,, ,,,, mA,,, ,,dha, va,ma, dhu,sU, ,,da, na,sau, ,,,, | rE,,, ,,,, ,,SrI, ,,kri, ,,shNa, mu,rA, ,,,, rE,,, || pA,,, hi,mAm, ,,,,kaNDu danyanAdE – (https://www.karnatik.com/c19812.shtml) – behAg
He announced he is done with behAg
Parulanna mATA – kApi – rUpakam - jAvaLi
vaidEhi sahitam – SlOkam started in sahAna and ended with denuka
teliyalEdu rAma – dEnuka - Adi
He checked with organizers. One of them mentioned he could go on as long as people wanted. Somebody suggested he has started the concert afresh
. People turned greedy a bit.ennEramum – dEvagAndhAri – Adi
viruttam on kaNNan in tilang
cinnanciru kiliyE – he started in tilang,
ODi varugaiyilE – Bilahari
ucci tanai – ATANa
kannattil muttamiTTAl – paTDeep
un kaNNil nIR vazhindAl – subha pantuvarALi
Mangalam
RKM gave a delectable and a one to cherish for long a concert with a voice that was more than perfect in form. He had a few days early arrival and well rested. kancadaLaya dakshi was the choice of verve to fire up the concert. A nice neraval with odukkams for rAka SasivadanE. poruttam svarams to join with rAkA elongated phrase.
Suddha Saveri was a lilting Alapana and a nice return by Charumati. Thought he was going to take something larger like dhAriNi of SrI tyAgaraja going by the intensity of the Alapana. He chose tAyE Tripura Sundari. He brought out the bhavam in the caraNam in madyasthAyi. The citta svarams are always refreshing to listen and do tAlAm for their rolling patterns.
He chose behAg for RTP. It was bAgESri in the last visit in Dallas that I had gone to. He seems to prefer naya rAgams and I should say his voice texture does add beauty to the exposition. I had forgotten how behAg sounded in all it’s reaches with only tail end compositions like sAramaina and irakkam varAmal. He did bring in some touches that was refreshing to me. He traversed 3 octaves and dwelt on lower Shadjam. The live experience captures this like no other. And if you give this type of rAgam to a talented violin Vidushi, what will happen! It was a festive behAg I should say.
The Pallavi was set nicely with as many kArvais in various spots going over (crossing) the beats. So my measure of music went up notches high! Pallavi is notated to mAtra resolution above and one can observe this. The svarAksharams for Ma in pAhiMAm Madhava employed both Suddha and prati madyamams for the first and second Ma(if I sensed it right!).
Svaram rounds consisted of bAgESri and madhuvanti. Final kOrvai for each round: behAg, bAGESri and madhuvanti were employed to finish off.
tani Avartanam as I heard the dhin sound after the first kORvai as NCB settled into a syncopated single syllables after the first abhiprAyam, it brought the memories of Karaikudi Sri Mani and the kappi Mridangam sound , the latter a rarity in visiting music artistes. NCB played triSram , which sounded like SankIRNam initially and then did 7+5 splits etc. Final mOhra had a mix of caturaSram and triSram sections.
trikAlam was done post tani after he shifted to one kaLai tAlam. He included a lower kAla triSram while tALam was 1 kaLai.
The Slokam with sahAna brought us into Carnatic proper and he almost jump started another mini concert with teliyalEdu.
ennEramum in dEvagAndhari was rendered very soulfully.
Cinnanciru kiLiyE had refreshingly different tune. May be this is also prevalent. ODi varugaiyilE in bilahari was done with a brigha that expressed the speed of running very well. Charumathi picked it up in her following round and rasikas split into laughter. Subha pantuvarALi expressed the pathos in the last line so well.
And a lengthy applause for this one ever green composition. As, for an artiste growing up outside India and bringing out this level of bhAvam, the effort was not lost on the audience. I would use it as proof that language itself is music and the song’s cadence helps transmit the music beyond it’s own eco system.
KSHT (kAryasiddhi Hanuman Temple) built by Sri Ganapati SaccinAnanda SvAmi and devotees will be now a familiar acronym like other temple acronyms and Dallas northern suburbs are teaming with concerts all around that would rival Mylapore it feels like. But unfortunately I am unable to make it to all of them.