Saketharaman presented a wonderful concert in the company of Akkarai Subhalakshmi on Violin, Anantha R Krishnan on Mridangam and Anirudh Athreya on Khanjira, at the Madras Music Academy.
- Palayasumam – Arabhi
- Sundaratara deham – Pantuvarali
- Amba Neelambari – Neelambari
- VaraNarada – VijayaSri
- Marakathavalli – Kambhoji
- Ragam Tanam Pallavi – Varamu & Saveri (dwi-raga)
- Aadu Chidambaramo – Behag
- Tirupugazh – Hamir Kalyani
Saketh started the concert with a slokam in Arabhi followed by Syama Sastri’s composition Palayasumam. Thyagaraja’s composition Sundaratara deham in Pantuvarali was very good, with a short yet intense niraval at ragadi samharam raghavam udaram followed by some scintillating swaras and nice poruthams. Both Akkarai and Anantha complemented Saketh well.
A very beautiful aalapana in Neelambari was a treat to the audience. These kind of ragas in slow pace actually add a great variety to the concerts! Having started with a slokam yet again, Manikyaveena.., he brought out his typical soulful rendition of Ponnaiah Pillai’s composition Amba Neelambari in a lovely fashion! A brisk VaraNarada served as a nice filler and lifted the energy in the auditorium. Flashy swaras in a variety of interesting patterns were to be savoured.
A languid Kambhoji aalapana by Saketh was simply outstanding. Akkarai also returned well but it was a bit too long. Dikshitar’s masterpiece Marakathavalli was presented very well. Niraval could have added more beauty. Some very nice swara patterns and poruthams were an absolute treat, with a brilliant korvai structured around Ga and Ma to sum it up. Akkarai returned swaras well with Anantha and Anirudh beautifying them too. Tani Avarthanam was played well but was eternally too long (close to 30 min). I think the co-artistes should keep a check on the time to allow the concert to happen as per the main artistes’ plan and not get carried away with the moments on stage. We were hardly left with 45 minutes to witness the much awaited RTP and other songs.
Saketh started with an amazing Varamu aalapana and transitioned well to Saveri. Violin return could have been shorter again. After elaborating each ragam separately, he sang small phrases alternating between two ragas in a very interesting manner. Certainly it is not the easiest of the jobs! He did similarly in Tanam as well. A dwi-raga pallavi with Poorvangam in Varamu and Uttarangam in Saveri with raga names in it, was composed very well. Varamulosagi Brovavayya Saveri Ragapriya Kaveri Rangayya was set to 35 beat cycle and the Talam chosen was innovative, 5 beats per cycle with kalapramanam decreasing in geometric progression! So first cycle will have 5 * 4 = 20 aksharas, second 5 * 2 = 10 and the last 5 * 1 = 5, with a total of 35. After an amazing Trikalam by Saketh, the swaras included both the ragas in each avarthanam followed by ragamalika swaras in Reetigowla and Kapi before concluding with an impressive korvai in two ragas! Outstanding stuff indeed to come up with such innovative ideas.
A viruttam in Behag was followed by Gopalakrishna Bharatiyar’s composition Aadu Chidambaramo. The concert ended with a Tirupugazh in Hamir Kalyani and a traditional Mangalam.