Saturday, 9 March 2013

2013 Mar 08 TMKrishna RKShriramKumar PraveenKumar NGuruPrasad @ kalOtsav, oDukattur muTT, Bangalore

I want to narrate the story of 3s ..... credits to Vid TMK for the creative concert that he presented at Odukattur mutt.

Vid. T. M. Krishna - Vocal
Vid. R. K. Shriram Kumar - Violin
Vid. Praveen Kumar - Mridanga
Vid. N Guru Prassad - Ghatam ( left handed player - if you have not observed it till now  !)

A quick review can be summarised as a tale of trinity and 3s as it contained

3 AlApana, 3 composers, 3 krithis , 3 neravals , 2 swaras , 3 tanis.

A brief list is here.. A detailed review follows later

01 dEvi Sri tuLasamma - mAyAmALavaGauLa - Adi - thyAgarAja
02 AnandEswarENa - AnandaBhairavi - m.cApu - m.dhIkshitar
03 dEvi nI Pada Sarasamule - kAmbhOji - shyAmA shAstri

2.5 hrs already spent on the 3 tracks above...

04 dayamADo ranga - KalyANi  purandara dAsa
05 Viruttam (thandhai tAyum nI) - Ragamalika (mOhana, varAli, kIravANi) 
06 tatva jIva - kIravANi - sadAshiva brahmEndra
07 mangaLam kOsalEndrAya - kIravANi


Was there pretty much ontime to get a good seat to listen / watch / witness the "krishnOvashion". Also with a friend of mine dared to walk into the green room to place a request.

As the evening unfolded I was pretty optimistic that he could fit our requests anywhere in the concert considering the recent trends.

Did not expect the initial alapana to extend to 21 minutes. The audience were patient to wait for the song. None of our group guess worked as he started off with dEvi Sri tuLasamma...with a detailed vilamba kala presentation that extended to neraval that in total lasted 28 minutes and handed over to the percussionists to take over. The first surprise for the evening was unveiled.

The brief tani that lasted 13 minutes was interspersed with intricate beat techniques ( that is what a layman to percussion can explain) that upheld the traditions of Palani School. It also hinted a possible pallavi that may come in.

Statistically speaking, this may be the first tani in the history of carnatic music where the count of audience before the start and after the end of tani was same !!

Then came the presentation of my favourite Anandabhairavi in dIkshitar samradAya. It was distinctly different and Vid. RKSK response was equally edurite.

panchalinga krithi on the thiruvArUr diety  AnandEshvarENa samrakSitOham by m.dhIkshitar was well presented in viLamba kAala with nereval and swaras. The swara patterns were distinct too. Once again the song ended with a brief tani that lasted for 6 minutes.

As he had tried Adi, chapu and both were not pratimadhyama, we started our permutations to predict the manOdharma of the artist, but failed once again.

RKSK took over the rAga AlApana of kAmbOdhi and was reciporocated by TMK with a very sedate ( read as : non aggressive) vocal tAna ! It was indeed a grand affair that lasted 31 minutes.

Then came in another grand presentation of dEvi ni pAda sarasamule in kAmbOdhi a composition of shyAmA sAstri. 


My friend also commented that

"Time for some hyperbole!

Matthew Hayden said "I have seen God; he bats at number 4 in tests for India!"

Well... I just heard God... singing a sublime Tanam in Kambhoji!"


He followed the violinist in presenting the swaras and the exchange and comradrie on stage was extremely evident. He had by then treated the audience with one of his greatest performance with some of the rare krithis of trinity.

Already a vilamba kAla concert... further drifted into daya mADO ranga, and a rAgamAlika viruttum.

The tatva jIvatwam in kIravani brought a sublime, edurite concert to an end. 

One cannot ask for more and we returned happier (than what we would have been had he honoured our requests) considering that our requests were not the right catalysts for his experimental plans for the evening.





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