February CCC, Sun, 2020

Carnatic Chamber Concerts – February 16, 2020
Authored By: Anirudh Ramadurai, Shreya Virunchipuram, Pranav Satyadeep, Mahathi Shankarram, Prahlad Saravanapriyan, Urmika Balaji, Adithya Narayanan
Starting off the event was a 10-minute vocal performance by Deeta Ganapathy. This debut performance was accompanied on Veena by Anagha Balaji and mridangam by Thryambak Ganapathy. Deeta started strong with the varnam, “Ninnu Kori,” in ragam Vasantha, composed by Tacchur Singaaraachari, set to Adhi thalam. She sang the varnam both in first and second kalam, and the incredible percussive support from Thyambak complimented the lilting nature of the varnam. Deeta presented the mukthayi swaram and each chittai swaram with confidence and finesse, and Anagha followed her accurately and closely. The team then showcased Mutthuswami Dikshithar’s famous krithi, “Panchamathanga” in ragam Malahari, set to Roopaka thalam. Deeta and her accompanists delivered an enjoyable rendition of this krithi, and it was a pleasant way to conclude the slot.
Next was a vocal performance by Dhivyaa Devarajan, supported by Anirudh Ramadurai on the veena and Sumanth Mahalingam on the mridangam. The team rendered a popular krithi by Sri. Muttuswami Dhikshithar in the ragam Hamsadwani, Vaathaapi Ganapithim, set to Adi Thalam. Dhivyaa performed the piece with a bright and brisk voice at an unhurried pace. Anirudh supported her well by mirroring the tune of the krithi with precision while Sumanth accentuated the gait of the composition.
The next slot was a violin solo by Nathan Karthik with Raghav Iyer on the mridangam. Nathan started with short alapana in Hamsadhwani, playing many unique combinations with excellent clarity and shruti suddham. Then, he played a composition of M. D. Ramanathan, Gajavadana Maampahi. Nathan did a great job delivering the complex sangathis without changing the kalapramanam and was aptly supported by Raghav on the mridangam. Raghav also did an outstanding job blending and following Nathan’s playing.
Succeeding this was a vocal performance by Nikita Anand, with Tanisha Srivatsa on the violin, and Vaibhav Prakash on the mridangam. Immediately, Nikita delivered an extremely succinct overview of the ragam Kharaharapriya, the 22nd melakarta ragam, and despite the brief time span, she was still able to highlight all the key phrases that convey a distinct impression of Kharaharapriya. Further, Nikita continued by presenting the krithi “naDaci naDacI cUcera,” a trademark composition of Thyagaraja, and duly rendered it in Rettai Kalai Adi Thalam. Throughout the song, Nikita’s melodious voice was consistently showcased, leading to an exquisite outpouring of Kharaharapriya, augmented by Tanisha’s alert violin responses to the krithi’s detailed phrases, and Vaibhav’s deliberate, yet emphatic mridangam playing. Concluding this phenomenal krithi, Nikita commenced her kalpana swarams in the pallavi line “naDaci naDaci cUcera,” employing a diverse variety of simple, yet appropriate patterns, finishing with an abiprayam in the slow speed, then transitioned into the fast speed. In this period, she harnessed many jantais and karvais, creating differences in the length, and even incorporated a thisram aspect, as well as a srothovaha yati, before segueing into the korraipu, taken two counts after samam. Subsequently, she unveiled a samam-to-edam korvai, with intriguing changes in the poorvangam of the number ‘7’. Overall, the constant collaboration between the performing artist and the accompanists, as exemplified in the kalpana swaram stage, produced an engrossing performance well-received by all the audience members.
The next slot was a vocal concert by Kriti Iyer, Sahas Ramesh on the violin, and Santosh Ravindrabharathy on the mridangam. Kriti started with a short but soulful alapana in Arabhi, including several signature phrases in Arabhi, which were aptly mirrored by Sahas. Sahas responded with an equally melodious alapana, which also included several popular phrases in Arabhi. Kriti then proceeded to sing Sakala Loka Nayike, a composition of Sri Oothukadu Venkatasubbhaiyyar. Kriti’s beautiful voice easily rendered several complex sangathis in the song. Sahas and Santosh’s close support further enhanced the rendition of the kriti. Kriti then sang a few swarams, with several rhythmic patterns, which were accurately supported by Sahas and Santosh. Kriti ended with an interesting korvai, which Sahas and Santosh also followed very closely. Santosh then ended with a brief but engaging thani.
Following Kriti was another vocal performance presented by Aditya Bashyam on the vocals. He was accompanied by Shreya Virunchipuram on the violin and Umesh Gopi on the mridangam. Aditya started his performance by singing an alapana in the ragam Mukhari, a janyam of the 22nd melakarta, Kharaharapriya, in which he showcased the key sancharams of the ragam. Shreya aptly mirrored Aditya’s alapana on the violin and gave an equally melodious alapana. Aditya then sang, “sangIta shAstra gnAnamU” – a composition of Saint Tyagaraja, set to DeshAdi Thalam. Aditya also elaborated on the song by showcasing a few rounds of neraval and kalpanaswarams on the charanam line, “prEma bhakti sujana vAtsalyamU.” A short, but dynamic mohra-korvai played by Umesh concluded the slot.
The next slot was an OTS violin solo by Urmika Balaji, accompanied by Shrikanth Shivakumar on the mridangam. Urmika started with a pleasing alapana in the ragam Rishabapriya, the 62nd melakarta. In the Asampurna Mela scheme, this ragam is called Ratipriya. She then began with a composition of Sri. Koteeswara Iyer – “Ghananaya Deshika,” set to Aadhi Thalam. This krithi is very special because it is one of the songs in “Kanda Gaanaamudham,” which Koteeswara Iyer composed in the 72 melakarta ragams. Urmika chose to do her manodharmam (niraval, swaram) in the anucharanam line, “Sapthaswara.” She did many patterns, and in which some of them had poruttham in them. She then played a korvai in chatusram that ended with mel-kala thisram in the uttarangam of the last round. Shrikanth then played a mora and korvai to conclude the performance. Throughout the whole recital, Shrikanth playing excellently blended with Urmika’s violin enhancing the overall effect. Altogether, it was a remarkable performance.
Next was a vocal performance by Anirudh Raja, accompanied by Aishwarya Anand on the violin and Avinash Anand on the mridangam. Anirudh began with a beautiful alapana in the ragam Sahana, a janyam of the 28th melakarta ragam, Harikambodhi. His alapana was laden with impressive brighas and included many key phrases of the ragam. Aishwarya’s response was also very melodious. Anirudh then sang ‘Manamu Kavalenu Thalli,’ a composition of Shri Harikesanallur Muthaiah Bhagavathar, on the Goddess’ Mahishasuramardhini,’ set to Rupakam Thalam. He then took up niraval in the anucharanam, ‘Parameshwari Harikesha Bhamini Guha Janani’. He presented several rounds of niraval, each which Aishwarya matched very well. Following this captivating niraval exchange, Anirudh sang kalpanaswarams in the Pallavi line, Abhi Manamu, which comes on Athitha Eduppu. He sang both kizh kalam and mel kalam swarams. Anirudh presented many kanakku swarams which were rhythmically very engaging. He then sang a korraippu on madhyama sthayi panchamam, also on athitha eduppu. Anirudh concluded with a edam-to-edam korvai. Avinash’s thani gave this impressive performance a grand finish. Aishwarya and Avinash both handled this challenge very well and greatly enhanced the concert.
Concluding the February CCC was an impressive Ragam Thanam Pallavi by Sahana Prasanna. She was accompanied on Violin by Aditya Satyadeep and on Mridangam by Satvik Prasanna. Sahana started with a captivating Surutti ragam. Her vivid depiction of the alluring ragam was brimming with canonical (but nonetheless appealing and tuneful) phrases. Aditya followed with an equally melodious portrayal of his own. Sahana proceeded to sing a thanam, which was filled with interesting rhythmic patterns; Aditya’s response was excellent as well. Their exchanges were rhythmic and were relished by all listeners. Following the thanam, the team rendered the main Pallavi, “tAmarasa daLa nEtri tyAgarajuni mItri,” set to Tisra Jathi Khanda Nadai Jhumpa Thalam, two aksharam eduppu. The Pallavi was tuned in ragam Surutti by Sri. Karthik Lakshminarayanan (the lyrics were based on the anucharanam of Thyagaraja’s krithi, Amma Ravamma). After introducing the Pallavi, she sang both kizh kalam and mel kalam neraval. She then progressed into several rounds of sarvalaghu and kannakku swarams, as well as exciting ragamalika swarams. Sahana included the ragams Varali, Mukhari, and Behag before circling back to Surutti. She concluded her swarams with a long sarvalaghu swaram, followed by an edam to edam korvai. Satvik’s thani avarthanam was impressive, as he created a splendid rhythmic structure in his response, with all the laya phrases falling into place. Overall, this Surutti RTP was handled outstandingly well by the team and was enjoyed immensely by the audience.