Chitraveena Ravikiran- for ARTery: 05 May 2018

[Sivaramakrishnan]

ARTery, Chennai

N Ravikiran – Chitraveena
B S Purushothaman-Kanjira
05.05.2018 - Saturday
6.30-8.45 pm.

Pitch 5.5 kattai (G*),
e-sruti box

Kritis
1 Sri-Varnam- Aadi- Karur Devudu Iyer
2 Saraswati manohari-Endavedukontu-Aadi-Tyagaraja
3 Athaana- Balakanakamaya (Elaa nee daya)-Aadi-Tyagaraja
4 Pantuvarali- Ninuneranammina-Rupaka-Tyagaraja
5 Suddhasaveri-Darini telusukonti-Aadi-Tyagaraja
6 Dwijavanti-Padam-Taruni njaanenthu cheyvoo-Misrachapu-Swati Tirunal
7 Kaapi-Hindi Bhajan-Rupaka
8 Kalyanavasantham-Tillana- Khanda chapu-Ravikiran
Mangalam

It was a rare concert without mikes as being organized by ARTery periodically to allow rasikas to enjoy pure music. . The vibrant strains of the Traditional Vadyam filled the place superbly. The vintage residential building in Hanumantha Road, Royapettah provided the right ambience. Ramanthan Iyer who conceptualizes and manages ARTery with insightful eyes – he is an ace photographer too- had made meticulous arrangements. However, to ensure audibility of nuances and lower sthayi sancharas in the stringed vadya, Ravikiran used a minimal amplification with the built-in contact mike which augured well with the atmosphere. Around 60 discerning, disciplined rasikas attended. Chitravina Sri Narasimhan, father and Guru of Ravikiran graced the occasion with his august presence. It is simply great that he continues to attend all concerts of Ravikiran for a close evaluation.

The Varnam in Sri lent a sober start with Ravikiran studding the Charana sahitya refrain (kamakoti sundara) with a couple of beautiful sangatis. The Tyagaraja kriti in Saraswati manohari was laced with scholarly Neraval @ Sattamaatramaa saalanammiti. (Endaveduko invariably brings to our mind the stellar rendering by Musiri with neraval at the anupallavi -chintadeerchuda). The rendering demands absolute command over raga sancharas. Ravikiran skipped swaraprastaras. Well, the neraval was so complete!. The renderings in tandem with the Mandrasthayi strings has a special appeal and that is a hallmark of the instrument.

I have been waiting for Suddhasaveri from a stringed instrument for long and Darini telusukonti came in as the Main of the concert much to my as well as everyone’s delight. Like the Pallavi of Naa Jeevaadhara (Bilahari), the charana of Darini – Rajitamanigana is a cascading multisangatied one requiring full concentration besides being a a much demanding exercise on the part of the artist. Ravikiran did full justice to the rendering. Swaraprastaras were at the Pallavi, demonstrative of various gatis. The highly educative sawal jawab with Kanjira especially on Khanda nadai was interesting. Purushothaman followed it up with a precise Tani. Ravikiran said that the kriti has to be played in 1 kalai considering its varnamettu and rhythmic structure.

The padam Taruni in misra chapu followed a hearty delineation of Dwijavanti. Most swati tirunal padams are set to a vilambakala misrachapu unlike the tisra triputa of Kshetraaya which are of the ativilamba mode.

The Bhajan in Kapi was of an oriental type and Ravikiran explained that it used to be played by his grandfather and father and he has been playing it rarely. We were lucky. The brilliant Tillana in Kalyanavasnatam (own composition) which was the concluding piece seemed to have exploited the entire scope of Khanda chapu right from the Pallavi.

Ravikiran noted that most kritis played in the concert turned out to be those of Tyagaraja! Yes, this is a special year of Tyagaraja – someone in the audience quipped (250th birth anniversary). A reverential coincidence!

At the end, Ramanthan Iyer presented Ravikiran a photograph of him (a telling Black & white blow up) in concert at Music academy 2017 which incidentally is Ravikiran's 'Sangita kalanidhi year'.

[sreebeecane]

Concert is here: https://www.facebook.com/theartery.in/