Dr. Jayanthi Kumaresh – Music Academy – December 26, 2016

This was perhaps the most awaited concert of the December season 2016 for me! Dr. Jayanthi Kumaresh’s performance in the Music Academy is one of the most remarkable concerts and it deservedly received a standing ovation by everyone at the end of it!

Dr. Jayanthi Kumaresh performed with Sri R Sankaranarayanan on Mridangam and Sri Trichy Krishnaswamy on Ghatam.

  1. Karunimpa – Sahana (Varnam)
  2. Ekambresa Naayike – Suddha Saveri
  3. Sree Narada – Kaanada
  4. Ninnu vinaga mari dikkevarunnaru – PoorviKalyani
  5. Ragam Tanam Pallavi – Charukesi
  6. Akhilandeswari – Dwijavanthi
  7. Radha Sametha Krishna – Yamuna Kalyani
  8. Thillana – Kapi

It all started with a brief aalapana in Sahana followed by my favorite Varnam Karunimpa Ide, by Thiruvotriyur Thiyagaiyer, in a brisk pace. Muttuswami Deekshitar’s composition Ekambresa Naayike in (Karnataka) Suddha Saveri, that ended with a wonderful round of kalpana swaras, set the tone for what turned out to be a memorable evening.

Kaanada will be beautiful always. It’s beauty gets doubled when Dr. Jayanthi plays it! In the past, I have had some phrases of Kaanada haunting me (say, KaanadaMukhi [word borrowed from a very special person of my life] similar to ChandraMukhi) for many days and this particular aalapana was even special! Saint Thyagaraja’s immortal composition, Sree Narada was the composition to follow, that ended with Jayanthi-isque Kalpana swaras, if I may call it!

PoorviKalyani is an amazing ragam that is known to induce pleasant feeling. This aalapana from Dr. Jayanthi would have taken everyone in the auditorium to an eternal tranquility! Such a meditative feeling, and one would feel it should go on and on. Syama Sastri’s composition Ninnu vinaga mari dikkevarunnaru was presented with so much poise that there were goosebumps with aahs, oohs heard all over in the auditorium! Kalpana swaras showed why she is the master of both ragam and laya! Very well played by Sankaranarayanan and Krishna complementing her elegance and enhancing the beauty of the presentation.

Charukesi. Well, what should I write about it? Should I have counted the number of moist eyes in the hall? Or, should I talk about how people were stuck to their seats till the end, perhaps untypical of Chennai rasikas in an instrumental concert?

Charukesi was played to exhibit a deep sense of poignance, and every phrase of it around Dhaivatham and Nishadham would have touched all hearts there. I had actually wept!! Bringing the flavour of a ragam is not an easy job and can only be done with such ease by extremely gifted musicians like her. Blessed are a few of us who could witness it live in Ragam and Tanam! If Goddess Saraswathi had played Charukesi Tanam, she would have perhaps played it that way. Or, she may have herself played in the form of Dr. Jayanthi on that evening! Ragamalika Tanam in another more sorrowful ragam SubhaPantuvarali, pleasing Aarabhi and graceful Shuddh Sarang added a great dimension to the RTP. Pallavi, which was played seamlessly in all 4 ragams, was in Adi Talam. She exhibited the same in multiple rhythmic patterns. Fabulous Tani Avarthanam made this RTP, one to be cherished for the lifetime!!

Muttuswami Deekshitar’s Akhilandeswari in Dwijavanthi and Radha Sametha Krishna in Yamuna Kalyani (Misra Yaman) by G N Balasubramanian followed before the all-time favourite Kapi took off! A short aalapana followed by Kumaresh’s composition, a Thillana in it, marked the end of a very grand concert.

Such a wonderful concert, with extreme planning – right from the choice of ragams to the choice of compositions. If you noticed, she took up at least one composition by each of the Carnatic Music trinity and focused more on qualitative presentation than on the quantity in terms of number of compositions!

One feels concerts like these should go on and on. Alas, they say, great things are available only in rarity and I am blessed to have witnessed one such thing, LIVE!

I have always mentioned that Dr. Jayanthi is divinity personified and one can only second it after listening to her performance at the Music Academy, Chennai!

Om Saraswathyay Namaha!! _/\_

Gayathri Venkataraghavan – Music Academy – December 26, 2016

This is my first concert of Smt. Gayathri Venkataraghavan and a power packed one. At the Music Academy, she sang with Dr. Narmadha on Violin, Sri Neyveli Skanda Subramaniyam on Mridangam and Sri Nanganallur S.Swaminathan on Ghatam.

  1. Slokam in Kalyani, followed by Adi Tala Varnam (Vanajakshi)
  2. Pranamamyaham Sree Gourisutham – Gowla
  3. Seshachala Nayakam – Varali
  4. Paramathmudu Velige – Vaagadheeswari
  5. Samikku sari evvare – Kedaragowla
  6. Varagana laya – ?
  7. Ragam Tanam Pallavi – Bhairavi
  8. Abhang – ?

A good concert with interesting choice of ragams and compositions. Varali aalapana was soulful and the return on Violin was amazing and in typical MSG style. She played very well complementing Gayathri and sometimes outplayed her too. Seshachala Nayakam was presented very well. Niraval too was very well executed by both as a team and it ended with some excellent round of kalpana swaras.

Paramathmudu Velige is a nice composition in Vagadheeswari which I don’t get to hear much in concerts. It was refreshing to listen to it in the Music Academy.

Kedaragowla raaga elaboration was fabulous by both Gayathri and Narmadha. Some phrases on Violin drew lots of fascination among the audience. Again typical MSG style of playing. Skanda did a great job in Tani Avarthanam while I felt Swaminathan could have been better to make it a lovely team.

Bhairavi elaboration was heartening to listen from both, in the form of ragam and tanam, Gayathri announced pallavi was popularized by Alathur Brothers and tweaked by one of her friends to sing it in Chaturasra jathi Ata Talam with first 4 beats in Trisram, next 4 in Chaturasram and final 4 in Khandam. It looked a complex Talam to keep track of, for a naive listener like me, but very well presented as a team indeed.

Overall, a very nice concert.

G Ravikiran – Music Academy – December 26, 2016

G Ravikiran is from Bengaluru, but I heard him for the first time. At the Music Academy, he gave a nice concert with H M Smitha on Violin, N C Bharadwaj on Mridangam and Thirunakkara Rethish on Morsing.

  1. Karuna Samudra Rama – Devagandhari
  2. Tulasi Jaga janani – Saveri
  3. Yemani veginthune – Huseni
  4. Sri Mangalambike – Kalyani
  5. Chalamelara Saketharama – MargaHindolam
  6. Ragam Tanam Pallavi – Surati
  7. Jagadeesa Panchakshara – Naadanaamakriya

Very nice Saveri aalapana and nice composition in Tulasi Jagajjanani that was very pleasing. Devagandhari and Huseni are interesting choices I felt!

Very long Kalyani aalapana preceding the main composition Sri Mangalambike was delightful, slow and detailed, and it sounded similar to TMK’s style. Smitha did a wonderful job and knowing her potential, I felt she could have scaled even higher. Bharadwaj was excellent on Mridangam but Rethish on Morsing could have been much better.

Surati RTP is lovely with Ragamalika swaras in Kedaram and Poorvikalyani. Top class stuff!! The concert ended with a krithi in Naadanaamakriya, a ragam that always pleases listeners!

Sikkil Gurucharan – Parthasarathy Swamy Sabha – December 25, 2016

I have been waiting for long time to listen to Sikkil Gurucharan and I could finally catch him at the Parthasarathy Swamy Sabha in Chennai! Sri Sikkil Gurucharan, with Sri V Sanjeev on Violin, Sangeetha Kalanidhi Prof. Trichy Sankaran on Mridangam and Sri Giridhar Udupa on Ghatam, delivered a wonderful concert.

  1. Tharuni – Kambhoji varnam
  2. Pavanamaatmaja – Naata
  3. Parama pavana paapa mochana – Ranjani
  4. Vagarani – Kapi (?)
  5. Eduta Nilichite – Sankarabharanam
  6. Ragam Tanam Pallavi – Saveri
  7. ? – Dwijavanthi
  8. Bhajan? – Vasantha (?)
  9. Sreerama Jayamangalam – Surati

Kambhoji varnam was an excellent start to what turned out to be a great concert. Ranjani elaboration was too good and my pick of the evening, the Niraval on Paapa Mochana Sri Raghu… was simply outstanding!

Sankarabharanam was the main ragam of the concert, with both Charan and Sanjeev presenting it leisurely while exhibiting multiple dimensions of the ragam. Charan sang with so much ease in three octaves with the lovely Violinist Sanjeev following him very well. There were a very few boring moments in the long Violin return but it was a nice presentation. Eduta Nilichite is a fabulous composition in this grand ragam and it was presented in even grander way, with some exquisite round of kalpana swaras. Tani Avarthanam by Sangeetha Kalanidhi Trichy Sankaran and Giridhar Udupa was fabulous! As a whole, the main composition took about 70-75 minutes roughly and in the hindsight, I felt it was a tad long, as I probably felt he had to rush through the RTP that was to follow.

Saveri was presented with so much elegance to bring out the flavour of it in Ragam and Tanam by both Charan and Sanjeev. The pallavi was excellent and sung in different rhythmic patterns, with excellent support on Mridangam and Ghatam. Though he spent about 25 minutes on RTP, I personally felt, the Pallavi deserved a bit more time. However, I understand the time constraints and he did a commendable job, nonetheless!

The concert ended with some mandatory light pieces and it was heartening to see a lot of people glued to their seats till the end. Overall, a great concert with some of the songs I have heard for the first time. Happy to have attended Charan’s concert finally, after a long time!

Hyderabad Brothers – Parthasarathy Swamy Sabha – December 25, 2016

Hyderabad Brothers Sri Seshachary & Sri Raghavachary, with Sri Nagai Sriram on Violin, Sri Mannargudi Easwaran on Mridangam and Sri B S Purushottaman on Khanjira.

  1. Evarani Nirnayinchiri – Devamruthavarshini
  2. Vagachoochutaku idi velara Daasarathe – ?
  3. Sadachaleswaram Bhavaye – Bhoopalam
  4. Saketha Nikethana – Kannada
  5. Kaligiyunte – Keeravani
  6. Charumathi Upacharamu – Kaanada
  7. Cheliya Nenetu Maaru – Ananda Bhairavi (?)
  8. Ayyo vibhudu nanu – Kedaragowla (Javali)
  9. Karunai Daivame Karpagame – Sindhu Bhairavi
  10. Thillana – Pahaadi

Hyderabad Brothers are known to present some very rare krithis and this concert was no different! It was so different to have heard all Telugu compositions in a concert in Chennai, till the time someone requested them for a Tamil composition in the end, which they obliged with one in Sindhu Bhairavi!

Kannada and Keeravani were elaborated, with Nagai Sriram playing extremely well all the way. He shadowed the brothers very well and returned in their style in a lovely way. Kaligiyunte is a wonderful composition that brought charm to the concert. Mannargudi Easwaran was fabulous as usual, with B S Purushottaman playing very softly.

Some very rare light compositions in Telugu, especially Cheliya Nenetu Maaru and Ayyo Vibhudu Nanu were very interesting, with so much of lyrical value, brought out very well by brothers. I am not sure how many in the hall would have understood their effort, except a very few Telugu rasikas.

The concert ended with the Thillana in ragam Pahaadi by Lalgudi Jayaraman Sir.

Saketharaman – Vani Mahal, Chennai – December 24, 2016

Sri Saketharaman, with Smt. Charumathi Raghuraman on Violin, Sri Neyveli Narayanan on Mridangam and Sri Guruprasanna on Khanjira, delivered a super concert at Sri Thyaga Brahma Gana Sabha (Vani Mahal), Chennai.

  1. Ramachandram Bhavayami – Vasantha
  2. ? – Hamir Kalyani
  3. Entha Ninne varninthunu – Mukhari
  4. Evaritho ne telpudo Rama – Manavathi
  5. Punniyam Oru Koti – Keeravani
  6. Madhava Mamava Deva – Neelambari
  7. Ragam Tanam Pallavi – Brindavana Saranga
  8. Mannupugazh Kosalai – Ragamalika
  9. Tirupati Venkataramana – Hamsanandi
  10. Thillana – Vasanthi
  11. Pavamana Suthudu – Sourashtram

Ramachandram Bhavayami is a nice composition to start the concert and the Swaras around Saketha set the stage well for the next 2.5 hours. A Tamil composition in Hamir Kalyani followed after a very brief aalapana that brought out the very essence of the raga. The Lalgudi Bani!!

Soulful Mukhari aalapana by Saketh and wonderful return by Charumathi on Violin was a treat to the ears. Niraval exchanges on Kanulara Sevinchi Kammani Phalamulanosagi.. was delightful. A fast paced Evaritho ne telpudo which I heard second time and only from Saketh both times, a wonderful composition by Saint Thyagaraja was a filler between the lovely Mukhari and soul stirring Keeravani that was to follow.

Keeravani is one of those ragas that needs proper and careful handling to sound the way it should, and to create the kind of mood it is supposed to. While Saketh explored the aalapana in many different ways, Charumathi did an extremely good job of shadowing him well. Lalgudi Bani on one side and T N Krishnan’s style of gamakas on the other side. Oh, it was a wonderful sketch altogether! There was a Graha Bhedam (to Hemavathi perhaps?) in the middle of aalapana and it was very fascinating. It’s a Tamil krithi and Saketh mentioned something about it (in Tamil), which I couldn’t catch. I heard it for the first time and the Niraval and Swaras made it even special. Brilliant Tani Avarthanam by Narayanan and Guruprasanna, who did a great job all through the concert.

Madhava Mamava Deva in Neelambari was a filler before what turned out to be a wonderful Ragam Tanam Pallavi in Brindavana Saranga. It’s a very rarely heard ragam and more so for an RTP. Excellent presentation of Ragam and Tanam by Saketh and Charumathi. In Tanam, there was a transition to Sankarabharanam (?) and Sindhu Bhairavi before concluding it in Brindavana Saranga. Pallavi Ananda Natana Prakasam Chitsavesam Chidambaresam Aasrayami Satatam in Misra Jathi Triputa Talam was sung in all possible nadais. He has such a command on laya!! Very pleasing to hear Ragamalika swaras in Sahana, Mohanam and a rare ragam called Misra Surya. Some very interesting swara patterns around Madhyamam in Brindavana Saranga to conclude the grand Pallavi.

The concert ended with a wonderful Thillana by Sri Lalgudi Jayaraman in Vasanthi and traditional Mangalam.


Rudrapatnam Brothers – Music Academy – December 24, 2016

This was my first concert of Margazhi 2016, by the veterans, Rudrapatnam Brothers, at the prestigious Madras Music Academy.

The stage was full of wonderful musicians, Rudrapatnam Brothers, Sri R N Thyagarajan and Sri R N Tharanathan, with Sri Nagai Muralidharan on Violin, Sri Mannargudi Easwaran on Mridangam and Sri Guruprasanna on Khanjira.

  • Sree Kumara – Athana – Swati Tirunal
  • Mamava Pattabhirama – Manirangu – Muttuswamy Deekshitaar
  • Nandagopala Sri Nanda Ganalola – Abheri
  • Ragam Tanam Pallavi – Kalyani
  • Shiva Shiva Shiva Bho Mahadeva Shambho – Naadanamakriya – Jayachamarajendra Wodeyar
  • Thillana – Janjhooti – Veena Seshanna

I missed a few compositions as I arrived about 15 minutes late. Athana aalapana from the elder brother was reverberating in the wonderful auditorium as I was entering. Response from Nagai Muralidharan was equally good. Maharaja Swati Tirunal’s composition Sree Kumara followed, which ended with lovely kalpana swaras.

Manirangu is a very rare ragam and is not often heard in concerts, that too as the “main” piece. It was so pleasing to hear an elaborate exploration of ragam by the younger brother, and equally well responded by Nagai Muralidharan on Violin. Deekshitaar’s Mamava Pattabhirama followed, with amazing Niraval on Sampoorna kama Raghurama Kalyanarama and the kalpana swaras to finish it off were exquisite! Mannargudi Easwaran (mama) showed his class in Tani Avarthanam (Misra Chaapu) and with Guruprasanna playing Khanjira, it formed a formidable partnership! One of the most fascinating Tani Avarthanams that I ever heard!

Nandagopala Sri Nanda Ganalola in Abheri is a filler before what followed, an amazing Ragam Tanam Pallavi, in one of the all-time favorite ragams, Kalyani! Both the Voices along with the Violin portrayed multiple dimensions of the grand Kalyani both in Ragam and Tanam. Pallavi in Triputa Talam was Saarade Karunaa Nidhe, Sakala Navaamba Sadaa Janani. It was sung in different nadais before moving onto the brief Ragamalika section to end the RTP.

The concert ended with two interesting pieces which I never heard, followed by a brief aalapana in Madhyamavathi.

A great concert by the veteran brothers, with excellent team – it indeed was a nice start to my attendance in Margazhi season!

Dr. Jayanthi Kumaresh – SPIC MACAY – 3 December, 2016

It is indeed a refreshing experience to listen to Dr. Jayanthi Kumaresh, more so, because I haven’t heard her since August 2016! A lecture concert, organized by SPIC MACAY Bengaluru, at Gandhi Krishi Vigyan Kendra (GKVK) campus, made the audience (students and others alike) spellbound.

Dr. Jayanthi Kumaresh presented this concert with Sri K U Jayachandra Rao on Mridangam and Sri Pramath Kiran on Morsing/Tabla.

  1. Nenarunchara Naapaini – Simhavahini
  2. Ragam Tanam Krithi – Saraswathi Namostuthe – Saraswathi
  3. Tani Avarthanam
  4. Revathi -> Saramathi -> Hindolam -> Behag – Thillana (?) – Behag

The lecture concert started with a brief soulful aalapana in Simhavahini. I have heard the composition Nenarunchara a couple of times before, and only from her, and every time I hear, it makes me feel wonderful. A short round of kalpana swaras made it a grand start to the programme.

You must attend Dr. Jayanthi’s lecture demonstrations to hear her talk about the Veena, it’s evolution in terms of shape, structure, size, it’s similarity to the human body and many other interesting things. She did a brief introduction to the National Instrument of India followed by a tribute to the instrument, the Saraswathi Veena, in ragam Saraswathi. She started with a beautiful raga aalapana and transitioned into her trademark Tanam. At one place, she did not even use her right hand for about 20 seconds or so, and everyone was spellbound to see that magic how the vibrations could last that long! She then rendered the very famous composition in SaraswathiSaraswathi Namostuthe which ended with some exquisite round of Kalpana swaras.

Dr. Jayanthi then asked Jayachandra Rao and Pramath Kiran to have a dialogue on percussion to demonstrate different ways the instruments can communicate with each other. It was indeed interesting.

As is the case with any SPIC MACAY concert, a question and answer session followed, in which there were requests for Saramati, Revathi and Hindolam ragas. She did a brief aalapana, starting with Revathi and seamlessly transitioning into Saramati and Hindolam, before finally reaching Behag. The programme ended with a delightful composition in Behag, which she plays very regularly in concerts.

A great concert indeed, albeit short – I felt the Q&A section was a bit too long, else, we would have probably heard one more composition from her.