Vocal: Vid. Saketharaman
Violin: Vid. HKVenkatram
Mridanga: Vid. ThiruvarurBhaktavatsalam
Ghata: Vid. TrupurnitaraRadhakrishnan
01 shlOka ...pullAgi puDAi puzhuvAi
[ Pullagi, poodai puzhuvai maramaki,
Pala virugamagi pravayai , pambaki ,
Kallai , manitharai peyai , ganangalai ,
Val asuraragi , munivaraai , devaraai ,
Chellaaa nindra , ithathavara jangamathukkul ,
Yella pirappum piranthu ,ilaithen, yem perumaane ] 26 -31
inta parAkA mAyAmALavagauLa rUpaka Anaiyya (N, S)
nereval @ kaNNa talli
02 kaNDe kaNDe kaNDe Varamu Adi p.dAsa
03 uyyAla lUgavayyA shrI rAma nIlAmbari jhampa thyAgarAja (A)
04 anurAgamulEni saraswati rUpaka tyAgarAja
05 tiruvaDi sharaNam kAmbOdhi Adi gOpAlakrishna bhArati (A, N, S, T)
started at anupallavi marupaDiyum enna....
nereval@ aDutta vanda ennai
06 RTP AbhOgi
rAga: AbhOgi
tAna: ranjani mOhana pUrvikalyANi Bilahari
pallavi : AbhOgi tiSra aTa 2 KaLai
Pallavi Line: Ananda naTana prakAsham sabhEsham naTEsham.. AshrayAmi satatam
Based on panchalinga compositions of m.dIkshitar
rAgamALika in kEdAra(AkAsha), HusEni(vAYu), SAranga (Agni), bhairavi(prithvi), yamuna kalyANi(jala)
at the end of each rAgamAlika... sang the pallavi line of the respective composition
07 ChandrasekharaEsha SindhuBhairavi Aadi AnaiVaidyanathaIyer
08 Chandra chUDa Shiva Shankara pArvati darbArikAnaDa Adi PurandaraDasa
09 nI nAma rUpamulaku mangaLa sourAshtra Adhi thyAgarAja
Today's decision on how to make this an evening of a well-spent life was no tough choice. After a sumptuous lunch at a family function, I was ready for another sumptuous treat in the evening. (of course after sacrificing quality time at home as my kid has exams Monday onwards)
The concert of the evening started a bit late due to a junior concert that got extended beyond its scheduled closure time. I was cribbing that the main course would be shortened as a result of it. However, you attend such master concerts to have a heavy dose of music from the very word go. So no qualms there.
Since the series is organised to celebrate Shivaratri, the theme of the concerts are mostly around shiva. Only at the end of the season, we see the artists bringing in other deities in the concerts.
Vocalist started off with pullAgi puDAi puzhuvAi, 26 - 31 shloka verses from shiva purAnam by saint Manika vasagar. There was a whiff of familiarity among the tamil speaking people.
http://www.hindupedia.com/en/Shiva_Puranam_(Tamil)
The tamizh verses were followed up by a telugu song in mAyAmALavagaula (2 in 2 days).
Usually the mikAsura appears on the first day of the season, here he was a day late. There were few instances of sound looping. However, it did not mar the manOdharma of the artists. That differentiates masters from the rest.
It was followed up with a quick presentation of purandara dAsa composition tuned to varamu.
The first detailed mellifluous AlApane came in form of nIlAmbari. For a fast paced artist like Saketraraman, this was really slow and deep presentation. It had all nitty gritty that was needed for a short 6 minutes AlApane. Guessing uyyAla lUgavayya would follow was no brainer. A simple presentation without any elaboration.
anurAgamulEni in Saraswati was presented in a whiff. The whole presentation did not last more than 4 minutes.
kAmbOdhi AlApane which took the place of main song for the concert clearly indicated that it would be a composition on shiva. A small scratching the head, and coincidental alapane note indicated it would be a tiruvaDi charaNam. The karuNa rasa was well extracted by both the artists. A detailed nereval followed the krithi. While vocalist handed over to tani, Bhaktavatsalam was reluctant to start off tani. He indicated he wanted to listen to more of kAmbOdhi, which was smilingly accepted . Pretty new and creative patterns of swara prastara followed and the percussionists gradually drifted into a multi-phase tani. Without any exaggeration, it was the longest piece of the concert !!
There were no filler before RTP. AbhOgi rAga AlApane provided some clue to sabhApatikku (popular composition on siva of chidambaram by kavi GKB). However, there were twists and turns keeping the audience guessing when both the artists dwelled into rAgamAlike in tAna that composed of ranjani, mOhana, pUrvikalyANi and Bilahari which did not indicate any distinct pattern !!
Vid. Saketaram is known to do good homework (applaud the lineage) before each concert. He took time to explain the pallavi line which was based on panchalinga / panchabhUta kritis of muttuswAmi dIkshhitar.
The presentation of pallavi in tiSra aTa was another intersting aspect that highlighted the command not only over rAga but also on tALa. The rAgamALika in kEdAra (AkAsha), HusEni (vAyu), sAranga (Agni), bhairavi (prithvi), yamuna kalyANi (jala) demonstrated his deep command over the subject. The rAgamAlikas were ended with the pallavi line of each composition and necessarily did not end with the pallavi line of the RTP.
2 more filler songs were mellifluous and had an overdose of bhakti !! The ecstatic audience joined in chorus as the songs were pretty familiar.
Concert had a formal ending with pavamAna.
I had a overdose of endophrine generated at the end of the concert. Could not sleep quickly as I went to bed, the concert was / is still ringing in my ears.
PS: A very interesting writeup on panchalinga krithis is available in this link
https://www.facebook.com/notes/mantra-shlokas/panchalinga-sthala-kritis-dikshitars-tribute-to-lord-shiva/182668781745954/
No comments:
Post a Comment