Saketharaman – NadaSurabhi – September 17, 2017

Saketharaman and team presented a nice concert on the 87th birth anniversary of legendary musician, Lalgudi Sri G Jayaraman, at the Indian Heritage Academy for Nadasurabhi!

Sri Saketharaman was accompanied by Kumari Apoorva Krishna on Violin, Sri Sai Giridhar on Mridangam and Sri Omkar Rao on Ghatam.

  1. Sendil… – Neelambari (Varnam)
  2. (Jagad)Eesha Paahimam – Kalyani
  3. Adamodi Galade – Charukesi
  4. Kande Kande Kande Namma Kangala Dhenuva – Varamu
  5. Paalinchu Kamakshi Pavani – Madhyamavathi
  6. Kannanai Kanbadeppo – Ragamalika
  7. Jathiswaram – Sindhu Bhairavi
  8. Kandena Govinda – Chandrakauns?
  9. Thillana – Pahaad
  10. Mangalam – Sourashtram

Saketharaman introduced that he was going to sing either the songs composed or popularized by the legendary musician Lalgudi Jayaraman Sir. As expected, the concert started with a beautiful Varnam composed by him, in Neelambari.

(Jagad)Eesha Paahimam in Kalyani is the first of the Lalgudi Pancharathnams composed by Saint Thyagaraja and it was rendered brilliantly.

Charukesi is one of my favorite ragas and in some sense, synonymous with Lalgudi and I was actually about to send Saketh a text requesting if he could sing that ragam, but held back thinking he might have his own plans for the concert on his Guru’s birth anniversary and hence did’t want to disturb them. Surprisingly he picked up long aalapana of this amazing ragam (telepathy, perhaps?), though a bit fast paced rendition than the ones that I heard innumerable number of times from the maestro, it had the Lalgudi stamp all the way. I am seeing this wonderful young girl Apoorva after 3 years on an accompanying role and felt very happy listening to her return, which started and ended very well. The krithi was easily to be guessed, Adamodi Galade. Violin accompaniment for Saketh is not an easy job because of the energy with which Saketh sings, and in complex patterns of swaras, but she did a good job. A blistering round of kalpana swaras made everyone sit on the edge of their seats.

Madhyamavathi aalapana was quite detailed both by Saketh and Apoorva, and I was somehow guessing a Pallavi. Pleasantly surprised and happy to listen to one of the masterpieces of Shyama Sastry, Paalinchu Kamakshi, which had interesting, intense and long Niraval like in any typical Saketharaman’s concert. A tad surprised that there were no kalpana swaras and even the last charanam which will have Shyama Sastry’s mudhra was skipped too. Nonetheless, it was already an intense singing by then in the form of delightful Niraval @ Karunya murthivai jagamu kapadina talli… Tani by Sai Giridhar and Omkar Rao was energetic and fulfilling.

Jathiswaram in SindhuBhairavi is something I heard for the first time and it really is a wonderful composition by Lalgudi Sir, which had GrahaBhedam to BehagMohanaKalyani, Tilang ragas in a very simple way for the ears and definitely tough for the singer. The composition deserves to be known more popularly to the general folklore and musicians like Saketharaman are hence, real torchbearers of the Lalgudi tradition. It was so nice that he sang and explained the composition as he did it!

The concert ended with a few small pieces followed by his famous Thillana in Pahaad!

Overall, a nice concert by Saketharaman and I was probably expecting one more Niraval and a Pallavi, but I do understand that the theme was more focussed on the legendary musician Lalgudi Jayaraman Sir and Saketh needed to make adjustments to his usual format, accordingly.

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Saketharaman – Sreerama Seva Mandali, Mysuru -January 22, 2017

This is my first concert in Mysuru! I had a lovely time travelling with my Guru to and from Mysuru, add a beautiful concert by Saketharaman to make it a special day!!

Saketharaman performed with my Guru Sri H K Venkatram on Violin, Sri Arjun Kumar on Mridangam and Sri G S Ramanujam on Ghatam. This is a concert themed on Lord Shiva, as it was held as part of a week long celebrations on him.

  1. Saranu Siddhi Vinayaka – Sourashtram
  2. Naada tanumanisham – Chittaranjani
  3. Siva Siva Siva – Pantuvarali
  4. Enneramum – Devagandhari
  5. Rama Rama Rama Rama Ramayaniro – Vasantha
  6. Akshaya linga vibho – Sankarabharanam
  7. Chandra chooda Siva Sankara – Darbari Kaanada
  8. Ayye metha kadinam – Ragamalika
  9. Thillana – Rakeshri
  10. Pavamana Suthudu – Sourashtram

After a couple of brisk krithis in Sourashtram and Chittaranjani, the soulful Pantuvarali aalapana took off! Even more soul stirring was the return on Violin! Knowing that the concert was themed on Lord Shiva, I expected the krithi Siva Siva Sivayana rada that had an excellent Niraval on Agamamula Nutiyinchi… which ended with some excellent round of kalpana swaras.

A pleasing aalapana in Devagandhari followed. Interestingly, the same afternoon I was trying to understand the differences between this and Aarabhi, while I was travelling with my Guru. Saketh sings these kind of ragas very well, in a light voice! A Tamil composition Enneramum, which I never heard before was presented. The famous Rama Rama Rama Rama Ramayaniro in Vasantha served as filler before Sankarabharanam took off!

Sankarabharanam is probably one of those ragas that I always hear some new phrases in, despite listening to it many times. Great aalapana followed by a delightful Violin return by HKV Sir will be remembered for long time! Akshaya Linga Vibho was again a krithi that I heard for the first time. Niraval exchanges on Badari vanamuna naayika sahitha… was again a delight and kalpana swaras, especially some phrases around Gandharam and Nishadham were exquisite. What a treat! Tani Avarthanam by Arjun Kumar and Ramanujam was nice.

One of my favorite ragas, Darbari Kaanada, was very briefly presented leading upto Chandra Chooda Siva Sankara followed by Ayye metha kadinam in Ragamalika. The vote of thanks was soooooo long, owing to the last day of a week long celebrations on Shiva, and there was not much time left for the artistes by the time they were done with it.

The concert ended with Lalgudi Sir’s Thillana in ragam Rakeshri followed by traditional Mangalam!

My picks of the evening were Saketh’s Devagandhari aalapana and HKV Sir’s Sankarabharanam aalapana!!

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.

 

Saketharaman – RT Nagar Cultural Academy – September 25, 2016

Saketharaman and team delivered a fine concert at RT Nagar Cultural Academy, as part of their annual music festival. I was pleasantly surprised to know the sabha has been doing programmes for 26 years now!

Sri Saketharaman was accompanied by Guru Sri H K Venkatram on Violin, Sri Mannargudi Easwaran on Mridangam and Sri B N Chandramouli on Khanjira.

  1. Saranu Siddhi Vinayaka – Sourashtram
  2. Paahi Parvathanandini – Aarabhi
  3. Mamava Meenakshi – Varali
  4. Ramanama payasakke – Ananda Bhairavi
  5. Evaritho Nenu – Manavathi
  6. Satatam tavaka pada sevanam – Kharaharapriya
  7. <Some Tamil Composition> – Ragamalika
  8. Dayamado ranga – Madhukauns
  9. Bhaja bhaja manasa raghavendram – Bhajan
  10. Thillana – Khamas
  11. Pavamana Suthudu – Sourashtram

I generally like concerts starting with a Varnam but this started with a krithi in Sourashtram and was good too. Aarabhi aalapana was lovely on both Vocals and Violin – although I never heard this krithi, it was very pleasing. Kalpana swaras at the end of it were free flowing and with so much of energy to set the stage for next 2 hours or so.

Saketh’s detailed Varali sounded a little different to me but I really liked the wonderful return on the Violin by my Guru. It was very soulful and no wonder I enjoyed it, because Varali is one of my favorite ragas. Niraval on “Shyame Shankari Digvijaya pratapini” was outstanding! When Varali started, I somehow felt like listening to Ananda Bhairavi and I was pleasantly surprised to hear the same as the next item. I have, in fact, asked Saketh, if he knows face/mind reading! 🙂

Ananda Bhairavi is again, one of my favorite ragas and it was a pure delight to hear the aalapana on both Vocal and Violin, followed by the composition. Some phrases are still ringing in my ears!

A very short aalapana of Manavati (first time for me) was intriguing and the composition was sung very fast. He tried to showcase some gamakas even at that speed, which was interesting.

A detailed Kharaharapriya aalapana was indeed very nicely presented. He probably did a Graha Bhedam to some ragam for a very brief while but I couldn’t identify it. I was expecting an RTP but it turned out to be yet another composition that I never heard before. The Niraval on the second line of last charanam was very special with Mannargudi showing his class. Kalpana swaras were again in multiple nadais and there were many special patterns around Rishabham. Tani Avarthanam by Mannargudi and Chandramouli was outstanding. I generally don’t understand most of the Tani patterns but I really liked every bit of it, especially on Mridangam.

The vote of thanks was really long and boring. I understand, it was the last day of the festival and they were perhaps obliged to do it the way they did. Sponsors are of course very very important, but I think, they should keep it short, quick and simple.

Some Tamil song in Ragamalika followed, which I could not figure out. Dayamado Ranga was the repeat from the last concert of Saketharaman that I attended. The concert ended with a nice Bhajan on Raghavendra Swamy, a Thillana in Khamas (by Lalgudi ?), followed by traditional Mangalam.

Overall, it was a nice concert with amazing team of musicians, with a bad sound system that created problems more often, with screeching sound!

Saketharaman – Unnati – August 10, 2016

Finally I could make it to an Unnati concert! The previous day I missed Lalgudi siblings’ concert because of some priority tasks at office but I made sure I attended most part of Saketharaman concert, and it was almost 1 hour into the concert by the time I could arrive there.

Saketharaman was accompanied by H N Bhaskar on Violin, Mannargudi Easwaran on Mridangam and Sunaad Anoor on Khanjira.

  1. Venugana Ramana – Todi
  2. Enna rakshiso – Subha Pantuvarali
  3. Ragam Tanam Pallavi – Varamu & Saveri
  4. Thalattu padum – Neelambari
  5. Daya Maado Ranga – Madhukauns
  6. Thillana – Yamuna Kalyani
  7. Pavamana Suthudu – Sourashtram

As I was entering the hall, I heard a bit of Mohana Kalyani aalapana and as soon as I settled, Saketh settled back too, to Todi, after doing a brief Graha Bhedam. I was very glad that I didn’t miss the main composition of the evening, although, I think, I missed about 4-5 songs before. Fabulous rendition of Todi indeed. Very well returned by Bhaskar too. Composition was awesome, with Niraval at “Karunya komala Shyamala…” and some patterns were very interesting in it. Kalpana swaras were in his trademark style, although I felt, the returns on Violin could have been better. Amazing Tani by Mannargudi, very energetic. Felt Sunaad was perhaps a tad bit nervous playing with such a great artiste on Mridangam, but did a good job too. I was amazed at how Saketh ended Muktayi with some fabulous swaras, picking up from percussionists’ Tani patterns. Shows his command on Laya!!

I don’t think I have ever heard Subha Pantuvarali on a concert stage till date and Saketh broke it in style! A very short aalapana followed by soulful rendition of the composition.

Ragam Tanam Pallavi – started with Varamu and then transitioned to Saveri. He switched back and forth in a very lovely manner, in both Ragam and Tanam, and each transition was a treat to the ears! Pallavi mentioned the names of the ragas for those who couldn’t identify earlier.. “Varamulosagi brovavayya Saveri raga priya Kaveri rangayya”. Again, he changed the ragas back and forth in each cycle, in kalpana swaras too. Ragamalika section had Ananda Bhairavi and Madhuvanthi swaras. It was a very nice dwi-raga RTP.

All my favorite ragas came one after the other till now and it continued with brief aalapanas of Sahana, Hamir Kalyani before settling into the composition in Neelambari (which I never heard before). Very soft indeed. Very very soft voice, and so were all the other musicians too!

The concert ended with yet another first timer for me in the form of Lalgudi Jayaraman’s thillana in Yaman Kalyani followed by traditional Mangalam.