Venue: Sivagami Pettachi Auditorium, Luz Church Road, Mylapore, Chennai
Date: 21 Dec 2006
Organizer: Brahma Gana Sabha
Vocal: Sri Maharajapuram Srinivasan
Vocal Support: Sri Maharajapuram S. Ganesh Viswanathan
Violin: Sri M.A. Sundareswaran
Mridangam: Sri Umayalpuram K. Sivaraman
Morsing: Sri Srirangam Kannan
List of songs:
1) sarasUDa (varnam) - sAvEri - Adi - kothavAsal venkaTrAma iyer
2) pAhi pAhi bAla gaNapatE - mazhavAi chidambara bhArati (S)
3) sEnApatE namOstutE - gOwLa - Adi - UthukkADu venkaTa subbaiyer (S)
4) paripAlaya - pantuvarALi - Adi - swAti tiruNAL (S)
5) nAdalOluDai - kalyANavasantam - rUpakam - thyAgarAja (AS)
6) purahara nandana - hamIr kalyANi - Adi - muthuswAmi dIkshitar (A)
7) praNaumI satatam - jaganmOhini - misra chApu - v.v.srIvatsA
8 ) dAsharatE - tODi - Adi - thyAgarAja (ANST)
9) nIraja daLa nayanA - mAnD - Adi - mannArguDi sAmbasiva bhAgavatar
10) rAgathil siranda - rAgamAlikA - Adi - kaDalUr subramaNiam
11) suTTum vizhi chuDar - rAgamAlikA - Adi - subramaNya bhArati
12) namah pAravatI patayE - rEvati
bhO shambhO - rEvati - Adi - dayAnanda saraswati
13) viLayADa idu nEramA - shanmukhapriyA - Adi - t.n.bAlA
14) pavamAna (mangaLam) - sOwrAshTram - Adi - thyAgarAja
shubha mangaLam - madyamAvati
(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)
Smt. Sivakami Pethachi Auditorium at Alwarpet witnessed Maharajapuram Santhanam’s style and accounted for such a scenario, when Maharajapuram Sri S. Srinivasan gave a sumptuous treat in his music concert on 21st December. The vocalist started spiritedly with Saveri varnam SARASOODA and then took up PAHI PAHI BALAGAPATHIM in Hamsadhwani, wherein scintillating sangathis, though short, were satisfying. This krthi was composed by Mazhavai Subramanya Bharathi. In Goulai, Oothukkadu’s SENAPATHAE NAMOSTHUTHAE was very well received.
Presentation of Swathi Thirunal’s PARIPALAYA SARASIRUHA in ragam Panthuvarali is praiseworthy. Creamy was the Kalyanavasantham raga alapala for NADHALOLUDAI. Kalpanaswarams for this Saint Thyagarajar’s composition was full of life. As the Sahithya goes, only perfect naadham and swara pattern can take one to blissful state. The singer’s voice was saturating this. Haunting Hamir Kalyani followed for PURANHARA NANDANA in praise of Lord Muruga. This krthi is a composition of Dhikshitar. PRANAMOMI SAADHATHAM by Dr. Srivatsa in Jaganmohini followed and then the vocalist took up Thodi alapana, on a slow but steady note; and built up the tempo. The vocalist has an excellent voice range with fine modulation, focussed and displayed at proper places. He conveyed effectively well through this krthi DHASARATHAE NEE, wherein Saint Thyagarajar elucidates that he is indebted to Lord Rama for His guidance in creation of krthis. Here, the vocalist vividly conveyed the very same empathy with his cultured voice.
Sambasiva Bhagavathar’s NEERAJADHALANAYANA in Maand was masterfully presented with usual speed and rhythm.
Next number came with a bumper presentation of 21 ragams, questioning `of all ragas, which is the best raga, and offering the correct answer at the end that the raga that is sung with perfect alignment of sruthi and presentable swaras, is alone the best raga!’ The very essence of these ragas was exhibited in his presentation. This ragamaligai commenced with Kalyani and went on to Kambhodhi, Thodi, Nattaikurinji, Bharavi, Ranjani, Simmendhramadhyamam, Sankarabharanam, Saveri, Kapi, Shanmugapriya, Neelambhari, Atana, Anandabhairavi, Dhanyasi, Dharbar, Saaranga, Bhageswari, Saama, Sindhubhairavi and Madhyamavathi in this order.
Subramania Bharathi’s `CHUTTUM VIZHI CHUDARDHAN KANNAMMA’ in ragamaligai was taken up next and this is one of the foremost favourites of the rasigas; so also, Swamy Dhayanand Saraswathi’s BHO SAMBHO in Revathi and VILAYADA IDHU NERAMA from Papanasam Sivan, in Shanmugapriya.
Sri S. Ganesh Viswanathan, son of the vocalist Sri S. Srinivasan, gave subtle support. That this younger singer has his solo slots also during this season, is encouraging.
Verily, as usual, violist Sri M. S. Sundareswaran, by virtue of his vidhwath, played well and his support was vibrant.
Septuagenarian Umayalpuram Sri K. Sivaraman was on mrdangam. His dexterous handling of the instrument for over six decades, demonstrated how soothing and soft an accompaniment could be. The veteran’s sorties at times, as demanded by the situation were awe-inspiring and kept the rasigas spell-bound!
Srirangam Sri K. Kannan mesmerized the audience with his morsing and in the Thani, the duo made a marvelous mark. Nodoubt, this music concert will remain in the rasigas’ memory in the years to come!
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