2022 Apr 11 Anjali Sreeram VishwajithMattur BSPrashanth RaghunandanBS@ VaniSchool

Vocal: Vid. Anjali Sreeram 

Violin: Vid. VishwajithMattur 

Mridanga: Vid. BSPrashanth 

Ghata: Vid. RaghunandanBS

Participation: Online Audience

Occasion: 29th Annual Sree Ramanavami Sangeethotsava

Venue: Vani School, Basaveshwara Nagar, Bangalore

01 evari bOdhana VarNa abhOgi Adi PatNam SubramaNya Iyer (A)

02 jaya jaya jaya jAnaki kAntha nAta Adhi puranDhara dhAsa

03 Chandram bhaja manasa sadu hrdaya sadrsham asAvEri C Matya muttuswAmi dIkshitar

04 rAma ika nannu brova rAdhA shahana rUpaka patNam subrahmaNya iyer (A)

05 sri ranganAtha pAhimAm kalyANAvasantha TALA COMPOSER

06 ramA ramaNa nArAyaNA nAgaswarAvaLi mysore vasudEvAcarya

07 rAju veDale jUtAmu rArE kastUri ranga tODi rUpaka tyAgarAja

08 parama pAvana rAma pUrvikalyANi Adi pUchi shrInivAsa iyengAr  (A, N, S, T)

09 jaya jAnaki ramaNa rAgEshri bhadrachala rAmadAsu

10 karuNA jaladhE dhAsharaThE nAdhanAmakriya Adi tyAgarAja

11 krishNanA koLalinA karE sindhubhairavi P T Narasimhachar

12 rAmachandram rAjIVAksham shankarAbharana Adi m.dIkshitar

2018 Nov 11 ApoorvaAnahita MatturSrinidhi BSPrashanth AnoorSunad @ SRLKM

Vocal: Vid. Apoorva Vid. Anahita 
Violin: Vid. MatturSrinidhi 
Mridanga: Vid. BSPrashanth 
Khanjira: Vid. AnoorSunad

Venue: Sri Rama Lalita Kala Mandira Sabhangana

01 entO prEmathO varNa surati Adi thiruvottiyUr thyAgayya (O)

02 Sri mahAgaNapathiravatumAm gaULa misra cApu m.dIkshitar (A, S)
Swaras at Sri mahA 

03 Ananda naTana mAduvAr thillai pUrvikalyANi nIlakanTa sivan (A, S)
Swaras at naTa mADuvAr tillai

04 gOvindana dhyAna bahu shubhakaravu sahAna Adi p.dAsa (A)

05 rAju veDale jUtAmu rArE kastUri ranga tODi rUpaka tyAgarAja

05 bAla sarasa muraLI kIravANi Adi Uttukadu Venkatasubbier (A, N, S, T)
4th of the saptaratna compositions , 
Nereval and swaras at nIla daLina ruchiratna 

06 rAga tAna pallavi nAgAnandini nandana(20Beats) eDupu 4 beats after samam
tAna rAgamAlike in kalyANavasantha, amrithavarshini, hamsadhwani
Nandana tAla 20 beats, edupu 4 beats after samam
Ragamalika in kAnaDa shaNmukhapriyA mOhana
pallavi line: nandana sOdari shankari tAmarasa vilOchani janani pAhimAm

https://youtu.be/upWT6kTcxkI

07 Paingottu malarppunnai paravaigal bhaya (tEvArm)  punnAgavarALi rUpaka sambandar

08 bhAvayAmi gOpAlabAlam yamunakalyANi khanda chApu aNNamAchArya

09 tillAna bindumAlini Chitravina N Ravikiran

10 nI nAma rUpamulaku mangaLa sourAshtra Adi tyAgarAja

2016 Jul 01 GayathriGirish NalinaMohan BSPrashanth VSRamesh @ Bangalore Lalita Kala Parishat

Vocal: Vid. GayathriGirish 
Violin: Vid. NalinaMohan 
Mridanga: Vid. BSPrashanth 
Morsing: Vid. VSRamesh 

Prog No 878
Bangalore Lalita Kala Parishat / National College Jayanagar

01 Sri mahAgaNapathiravatumAm gaULa misra cApu muttuswAmi Dixitar (S)

02 rA rA mA intiki dhAka asAvEri Adhi thyAgarAja

03 vAnchathOnu nA vagalu dhelpave karNaranjani Adhi muttaiah bhAgavathar (A, CS)

04 sadA shivEna shankarENa sindhuramakriya m.dikshitar 

05 enduku peddalavale buddhi shankarAbharaNam Adi tyAgarAja (A, N, S, T)
nereval @ vEdashAstra purANa

06 RTP dhanyAsi tiSra tripuTa khaNDa naDai edupu 1 akshara after samam
Pallavi Line : dhanyAsi shiva jaTa madhyaye gange tunga tarange
Ragamalika in nATTakuranji, hEmavati

07 sadhA enna hrudhayadhalli bEhAg rUpaka vijayaviTTala dhAsa (O)

08 shrI venkata girIsham AlOkayE surati Adhi mutthuswAmy dhIkshithar

09 shiva panchAksari mantra (nAgEndra hArAya) rAgamAlika Adi Shankara

10 nI nAma rUpamulaku mangaLa sourAshtra Adhi thyAgarAja

Having experience of previous concert being washed out, I started off early from office to be at the venue on time. Though the stage was ready and the artists too were raring to go, the audience were still pouring in.

Vid. Gayathri warmed up the evening directly with an invocation through gaULa kriti. Since there was no varNa, i was expecting swara prastara on this, which happened as expected.

The asAvEri piece was a straight forward filler which was presented at apt kAlapramANa 

A short sketch of karNaranjani was good and the kriti was rendered well. There were no further embellishments other than the original chitta swaras.

Vid. Gayathri has presented many lecture demonstrations and her repertoire on rare krithis is well appreciated . Today she took up a sindhu rAmakriya composition of muttuswAmi dIkshitar where she demonstrated the rAga mUrchana before dwelling in a sedate presentation of the krithi. The krithi was beautiful, there were no frills attached to it.

The first long AlApane was nice and done leisurely in shankarAbharaNa. The sedate AlApane was followed with a beautiful rendition of the kriti enduku peddala with neraval and swaras at 'vEdashAstra purANa. The sama kAla neraval part was rendered very well. Percussion duo  who had been hitherto rendering perfect accompaniments, explored their potential in a not so long tani. It was ended with full rendition of second chanraNa. The tani they shared was nice and the last kOrvai was strikingly fitting to the starting of the line in which neraval and swaras were sung.

Without a filler , she announced that she would be presenting a RTP in dhanyAsi. The rAga AlApane traversed the crests and trough of the rAga to bring out the essence. With an eDupu of 1 akshara, the presentation of pallavi went on in quick succession of sAhitya elaboration and rAgamALika in nATTakuranji and hEmavati. An interesting aspect of rAgamAlika was after the violin returns on nATTakuranji, she once again started dhanyAsi, nAttakurani and went on into hEmavati, which was once again returned on violin. All in all it was a soothing presentation at an apt speed.

With a surUTi short sketch, a nice rendition of the kriti sRi venkata gIrisham AlOkaye... was the lead composition amongst the bEhAg, rAgamAlike shloka and mangala.

Vid Gayathri Girish gave a brief and a memorable concert. Her AlApane (though only 3 ) were good and showed essential phrases to show the rAga bhava. It was nice to hear a heavy ragas handled at ease interspersed with simpler renditions. It was also apt choice of m.bhAgavatar's krithi as a mark of respect around his remembrance day (Jun 30). Her kriti renditions were aptly pced and did not show a sign of hurriedness. The sangatis fell in place with the correct gamakas and brigas. Tutled by Vid. TNS, she showed her own singing style which dd not have an evident trace to one school. The neraval and swaras were in right proportions.

Vid Nalina Mohan, was matching to the level of the Vocalist all through. She was a replacement artist to originally billed BK Raghu, did not disappoint to what rasikas expected. 

Percussion duo BSPRashanth and VSRamesh did a good in job in accompanying the concert. Following all the pieces and played sahitya according to the mood of the concert was very evident. They played for all the sangatis enhancing the spirits of the rest of the artists. 

The concert went on without a hitch on the part of the sound system. I had a word of praise to the sound engineer Mr. Keshava Murthy who was too humble to accept his contribution. Though the concert was not that well publicized by the sabha, the audience strength was comparable to the previous concert that I attended here 2 weeks ago.

It was a memorable evening indeed.

2016 May 06 Mahati CharulataRamanujam Prashanth BS Anil Parashara @ Vani Shool

Vocal: Vid. Mahati 

Violin: Vid. CharulataRamanujam 

Mridanga: Vid. Prashanth BS 

Khanjari: Vid. Anil Parashara 

Ocassion: 25th Ramanavami Music and Dance Festival @ Vani School, Basaveshwara Nagar, Bangalore

01 mAte malaya daru varNa khamAs muttiah bhagavatar (O)

02-ninnE bhajana sEyu vADanu-nATa-Adi tyAgarAja (CS, S)
Swara @ sItA 

03 endarO mahAnubhAvulu andarIki vandanamu shrI tyAgarAja

04 Adaddella oLite Aayitu pUrvikalyANi Adi p.dAsa ( A S )
Swara @ AdaddellA oLitE Ayitu 

05-sItamma mAyamma shrI-vasanta-rUpaka tyAgarAja ( N S ) 
Nereval @ dharaNija bhAgavatAgre 

06-kaddnu vAriki kaddukaddani-tODi-Adi thyAgarAja (A, N, S, T)

Nereval @ baddu tappaka bhajiyincE

07 bArO krishNayya mAND Adhi kanaka dhAsa (O)

08 pavanaja stuti pAtra kuranji KhaNda Chapu thyAgarAja

09 shlOka rAgamALika

shAntAkAram bhujaga shayanam. . ShanmukapriyA 

Vishwadharam gagana. .valaji

Lakshmi kAntam. ..SAranga

Vande vishnum. .. Sindhubhairavi followed by 

10 tillAna sindhubhairavi Adi OVK

11 nInAma rUpamulaku mangaLa sourAshtra Adhi thyAgarAja

Vid. Mahati started with the famous daru varNa of Mutthiah Bhagavathar in khamAs. This composition is rarely treated as an opening varNam; past masters like the late KVN invariably sang this as the 3rd or 4th piece in a concert. However, it was a refreshing change to see this first up and it set a brisk pace to the whole concert.

She then followed it up with the not so frequently sung ninnE bhajana of tyAgarAjaswAmi in nATa, with a sprightly chiTTaswarA passage and some rounds of kalpanA swarAs.

It has been a while since I heard one of the pancharatna kritis in a concert, and a rendition of endarO mahAnubhAvulu sans any kalpanA elements was very welcome.

The first major AlApanE of the day followed that in the shape of pUrvikalyANI. It was unambiguous pUrvikalyANI with no hidden shades of pantuvarALI. A purandaradAsA composition that I had not heard before was presented. In its musical setting, it was more like a bhajana sampradAyA composition. In fact, it reminded me very much of a bhadrAchala rAmadasa composition (iDigO bhadrAdrI in varALI) that Sri Balamuralikrishna has rendered. KalpanA swarAs were rendered for the Pallavi, but the structuring of the landing left something to be desired - the attempted poruttams did not flow seamlessly to the eDuppu.

sItamma mAyammA was rendered next - I found it a bit odd to heard vasantA immediately following pUrvikalyANI. Neraval and swarAs were rendered for dharaNija bhAgavatAgrE.

tODI was taken up for the main of the day. An elaborate edifice of tODI was built, with some interesting grahabhEda to mOhanakalyANI - CR in her response played mOhana in grahabhEda. The way the AlApanE was moving had me guessing it was going to be kaddanU vAriki; that proved right, but I was pleasantly surprised when she skipped neraval at the usual nIdurA nirAkarinchi and chose the next like paddU tappaka instead for elaboration.

Tani by the young percussionist was just apt. 

An outline of mAnD preceded bArO krishNayya, and the kalayaNa utsava song sItA kalyANa vAIbhOgamE followed that.

A quickly rendered sloka in ragamAlika was rendered before OVK's Sindhu bhAIravI thillAnA. The younger generation of artistes need to be encouraged to spend more time on slokas / viruttam / ugAbhOgA - most treat this as a checkbox to be ticked and not exploit the musical potential of these pieces.

Overall, I would say it was a good concert, but it was missing some X factor that takes it beyond the pale of the ordinary.

CR as usual was impeccable in her ability to shadow the main artiste; she is really an asset to any main performer.