T K Govinda Rao at Nalinakanti

T K Govinda Rao - V L Kumar - T K Murthy

at Dr. MGR-Janaki college under the auspices of Nalinakanthi on 3rd April

viribhONi - bhairavi - aTa - Pachimiriyam Adiyappaiya
apparAma bhakti - kAmavardhini - rUpakam - tyAgarAjA
ikanaina - pushpalathikA - Adi
paritAna michidE - bilahari - kanDa cApu - patNam subramaNiya iyer
tani
evaranI - dEvAmrutavarshini - Adi - tyAgarAjA
maravakavE - sAmA - rUpakam - tyAgarAja
RTP - sAvEri - misra cApu - "varaTTum varaTTum manamE varaTTum iru manamE varaTTum padarAdiru manamE varaTTum"
tani
bAro krshNayyA - rAgamAlikA - Adi - kanaka dAsar
jamunA kinArE - dhrupad by mahArAjA swAti tirunAL
manju nihar
pavamAna

The concert with Sri. K S Mahadevan talking about the two sangIta kalAnidis to perform on stage and announcing the 75th birthday of Sri. TKG on 04/04/04. Following this Sri. T K Murthy had enlightened all present on his first concert (arangETRam) in 1934 when he was less than 10 years old where he instead of his guru accompanied Sri. Musiri iyervAL and on the various incidents and musiri's contributions that lead to it. He also recalled his second concert at the mysore palace during the navarAtri festival where he had played with subbarAma bhagavathar on request of rAja krshNarAja wodeyAr. He also recalled the techniques used by iyervAL in singing and keeping the correct kAla pramANam. He even sang a snatch of what he recalled. He said that iyervAL had such a auspicious hand that has made me live in sowkyam till today and Govinda Rao is the only person who can sing the same way as iyervAL and has an equally auspicious hand.

viribhONi was beautiful. kAmavardini was a nice tempo setting piece for the concert. the neraval and swarams for the pushpalathikA piece were beautiful. the bilahari Alapanai, kriti rendition, neraval and swarams were tooo good. TKG asked TKM to play the tani ('nEnga nannA vAsippELE konjam vAsingO') and quite a few of the ppl started to leave without knowing what they would miss. the rare dEvAmruthavarshini piece was aesthetic too. the neraval and swarams of the sAmA kriti were again nice. then came the grand sAvEri RTP. though a simple pallavi in a normal tALam TKG's rendition of the rAgam, tAnam and the pallavi are still ringing in my ears. then was the second tani again on TKG's request ('innoru tadavai vAsingO'). Though i do not know much about playing the mridangam, i did realise that the first and second tanis were distinctly different with nothing in common. the dhrupad of ST, was something i had not heard(off) before. i dont remember what rAgam he rendered it. bArO krishnayya and manju nihar were also trademark of TKG. in the end one felt the true meaning of TKM's words at the beginning of the concert. The excellent violin support of sri V L Kumar is notable. His phrases were fitting replies to TKG. on a lighter note he ended up finishing a few of the sanchAras which TKG had left aloof.