Manda Sudharani, Sri Maruthi Baktha Samaj

31st December 2005 6:30 pm

Sri Maruthi Baktha Samaj - Nanganallur Anjaneya Temple.

Manda Sudharani - Akkarai Subhalakshmi - B Ganapathiraman - Adambakkam Shankar

ninnE nannu - ranjani varNam - Adi (R)
tsAlakallalA - Arabhi - Adi - T (R S)
nI daya rAdA - vasanta bhairavi - rUpakam - T (R)
pAlintuvO pAlimpavO - kAntAmaNi - Adi - T (R N S)
srI vENugOpAla - kuranji - misra jhampa - MD (R)
vara rAgalayA - chenchukAmbhOji - Adi - T (S)
R T P - kEdAragauLa, kEdAram, gauLa - catusra jAti aTa tALam [catusra naDai] 2 kaLai
'kEdAragauLanE pADerA kEdAranAtuni vEDarA gauLAnguni pogaDurA'
taniyAvardanam
tillAnA - dhanashrI - Adi - ST
nI nAma rUpamulaku - saurAshTRam - Adi
short srI rAgam AlApanai

An excellent concert to say the least. Starting for the ranjani varNam, almost all the pieces are quite rare ones. Each AlApanai had something different to show. The choice of apt sancarams one after another and the logical building of each alapanai left one in a good mood all thro' the concert. The Arabhi AlApanai, svarams and the vasanta bhairavi alapanai were good. Choosing the vivadi, kAnTamaNi for sub-main made one expect a lot and she did full justice to the ragam and the kriti and the neraval svarams which followed.

Singing an AlApanai of kuranji in the middle of a concert, with the dIkshitar kriti in perfect kAlapramANam left an impact on the audience. It was easily the highlight of the concert.

The three raga pallavi was very careful set in catusra aTa tALam. One could guess that each set of 4 beats, would take a ragam. The way Smt Sudharani structred the pallavi was interesting. The kEdAragauLa part started 2 aksharams from the start of talam. The kEdAram part started 4 aksharams from the start of the second laghu and the gauLa part started 6 aksharams from the start of the first drutham. Thus making 4.5 beats each for kEdAragauLa and kEdAram and 3 beats for gauLa.

The matured fashion in which she kept moving from one rAgam to another was very scholarly and rendition of the pallavi itself was very good. The AlApanai, the change from one ragam to another and changing the rAgam while singing tAnam in durita kAlam were all nice. The svarams in each of the ragams the kOrvai which had all the three rAgams were good also. A very enjoyable concert on the whole.

The violinst was very good and she tried to play all that Smt Sudharani did. She got most of them right. She was very sensible in her replies all thro' the concert.

The mridangist provided sensible support. In steping in mel kAlam and/or kIzh kAlam as the occasion demanded. They were good and their tani in catusra aTa tALam was very nicely structured as well.

Mohan Santanam, Sri Kapali Fine Arts

31st December 2005 Kapali Fine Arts at Sastri Hall 10 am

Mohan Santanam - Ambika Prasad - Thiruvidaimarudur Sankaran

aruNOdayamE - bauLi varNam - Adi - LGJ
sabApatikku - AbOgi - rUpakam - PS (S)
marivere - latAngi - kaNDa cApu - paTNam (RN)
srI kamalAmbikAyAh - sahAnA - tisra tripuTa - MD (R)
nambinEn iyyA - vakuLAbaraNam - Adi - kOtIsvara iyer (R)
lokAvanacaturA - bEgaDa - Adi - T (RS)
tani
mayil mIdu - cArukEsi - Adi - K S Krishnamurthy

The concert was good. With a weighty kriti selection. The often-not-heard sahAnA navAvarNam and the forgotten lokAvanacaturA being taken up for elaborate treatment did leave an impact. Aptly beginning the morning with a bauLi varNam the concert was good from scratch. The alapanais and svarams were good all through.

The violinst was good and did his job to perfection. The mrudangist was very sensible in provided proper accompaniment and his tani was good also.

Sangeetha Sivakumar, Sri Parthasarathy Swami Sabha

30th December 2005 4pm
Parthasarathy Swami Sabha, Vidhya Bharathi

Sangeetha Sivakumar - B U Ganesh Prasad - Manoj Siva

Era nApai - tODi varNam - Adi
nAdupai - madhyamAvati - T (S)
yagnAtulu - jayamanOhari
sEshAcala nAyakam - varALi - rUpakam - MD (RNS)
mA ramaNan - hiNdOLam - rUpakam - PS
kamala caraNE - amruta bEhAg - Adi - GNB
tanayuni brOva - bhairavi - Adi - T (RNS)
tani
nI mAtalE mAyanurA - pUrvikalyANi jAvaLi
karpUram nArumO - khamAs - nAciyAr tirumozhi pAsuram
tillanA - behAg - tisra Adi

I reached the concert late, while she was singing varALi. The varALi was good. One kept wondering as to why she directly started singing mel kala svarams in varALi. The answer came with a long elaborate very enjoyable and carefully structured 15 minute bhairavi alapanai. The kriti and the neraval svarams at 'vatsamu' were very good. The concert was well planned and she did a good job.

The violinst was good all thro' and so was the mrudangist in providing sensible accompaniment all thro' the concert.

Rama Ravi, Music Academy

Rama Ravi - M A Krishnaswamy - J Vaidhyanathan - K V R S Mani

Music Academy 28th Dec 2005 10 am

karuNimpa - sahAnA varNam - Adi
ragunAyakA - hamsadvani - Adi - T
ranganAtudE - saurAshTRam - rUpakam - ponnaiah pillai (S)
sivakAmI patim - nATTakuranji - Adi - MD
mInalOcana brOva - danyAsi - cApu - SS (R N S)
rAmanAtam bhajEham - kAsirAmakriyA - rUpakam - MD (R N S)
krupajUcuDaku - cAyAtarangiNi - Adi - T
rAmakatA sudA - madhyamAvati - Adi - T (R N S)
tani
paripOvalarA - bilahari jAvaLi - rUpakam
rAma rAma prANa sakhi - bhairavi - Adi - kshEtragNa padam
dAsaratE srI rAma - khamAs - Adi - badrAcalam rAmadasA
vidhi illArkku - kharaharapriya - tisra Ekam - Anai ayya

An excellent concert. The concert portrayed all the capablities of the artist to the fullest. Starting from the varNam, the concert was enjoyable every minute. The selection of kritis, the alapanai, neraval and svarams of each piece were very good. As the concert proceded, the pieces she sang were more enjoyable. The padam and the last kharaharapriya piece were outstanding.

The violinst could have done a better job. The percussionist gave sensible accompaniment and were good all through the concert and the tani

Trivandrum Venkataraman, Nada Inbam

Nada Inbam, Raga Sudha Hall. 27th December 2005 6:30 pm

Trivandrum Venkatraman (Veena) - Trichur Narendran - Pudukkottai Ramachandran

sarasIruhAsana priyE - nATTai - adi (S)
mAmava sadA varadE - nATTakuranji - rUpakam - ST (R N S)
durmArgacarA - ranjani - rUpakam - T (R)
sItamma mAyamma - vasantA - Adi - T
O rangasAyI - kAmbhOji - Adi - T (R N S)
tani

A nice concert. Sri Venkataraman's nattakuranji and ranjani alapanais were good. The kambhoji was quite long and enjoyable as well. The concert was nice.

After the mandatory Sri SVK talk at the end of the tani, Sri Venkataraman played madhyamavati to end the concert.

The percussionist did a good job.

Malladi Brothers, Valayapatti Nadalaya

Malladi Brothers - V V Ravi - B Harikumar - Papanasam Sethuraman

Valayapatti Nadalaya. 26th December 2005. 4:30 pm

nAdasudA rasa - Arabhi - rUpakam - T (S)
parvata rAja kumAri - sriranjani - Adi - MD (R S)
nannu viDaci - rItigauLa - misra cApu - T
teliya lEru rAmA - dEnukA - Adi - T
tulasi bilva - kEdAragauLa - Adi - T (R S)
tani
nahi rE nahi - Ahirbhairavi - Adi (R)
muddugArE yasOdA - cenchuruTTi - Adi
rAm rAm rAm bhajO - bEhAg (R)
'vandE sambhum umApatim' - slokam in kApi and sindhubhairavi
candrasEkarA - sindhubhairavi 0 Adi
hecarika gA rA - yadukula kAmbhOdi - kaNDa cApu - T

It was a good concert. The kriti selections were good and the rendition kept reminding of Sri Nedunuri and Sri Voleti almost all thro' the concert. The alapanais and svarams were true to the style of their gurus.

The violinst could have done a better job. The percussion department was exceptionally handled by the mridangist and the ghatam artist ably supported him.

Sumitra Vasudev, Sri Kapali Fine Arts

Kapali Fine Arts 26th December 2005 Sastri Hall 2 pm

Sumitra Vasudev - T Hemamalini - Ashwin Shridharan

praNavAkAram siddhivinAyakam - Arabhi - Adi - OVK
sarasIruhAnanA - mukhAri - Adi - T (R S)
kshIrasAgara sAyI - pUrvikalyANi - Adi - PS (R N S)
karuNincuDaku - sindhumandArI
kandA vandaruL - AbhEri
vanajanayanuDano - kEdAragauLa - Adi - T (R N S)
tani
yenna solli - kAnaDA
kELanO hari - suruTTi
vIrati vanamAli - tilang
oruthi maganAi - bEhAg - tiruppAvai
saravaNa bava - sindhubhairavi

The concert was a good one. The alapanais and neraval and svarams of the main artist kept reminding one of Smt Vedavalli's style, guru of Smt Sumitra.

The kriti selection and rendition were very good. Well structured and enjoyable concert.

The violinist was lost in many parts of the concert and mridangist did a good job.

K L Kaushik, R A Puram Baktha Samaj

K L Kaushik - Koushik Sivaramakrishnan - Mohanakrishnan

R A Puram Baktha Samaj. 25th December 2005 5 pm

karuNimpa - sahAnA varNam - Adi (S)
sogasujuDa taramA - kannaDagauLa - Adi - T
amma rAvammA - kalyANi - kaNDa cApu - T (RNS)
hari hara putram - vasantA - kaNDa Ekam
krupajUcuDaku - cAyAtarangiNi - Adi - T
nI pAdamulE - bhairavi - Adi - patnam
tani
marubAri - khamAs

The concert was well structured and Kaushik did a good job in kriti selection and rendition. His manodarmam was good also.

The violinst was off beat thro' the concert, he was lost in most parts of concert. His alapanais were atrociously long and monotonous.

The mridangist was good.

The acoustics left a lot to be desired.

T N Seshagopalan, Krishna Gana Sabha

Krishna Gana Sabha on 23rd December 2005

TN Seshagopalan
Mysore Manjunath
Trichy Sankaran
S Karthick

hecharika gA rA - yadukula kAmbhOdi - kaNDa cApu - T(S)
srI rAjagOpalA - sAvEri - Adi - MD (R,S)
srI kAnta niyaDa - bhavapriyA - Adi - T (R,S)
abhayambikAyA - sahAnA - MD
chakkani rAja - kharaharapriyA - Adi - T (RNS)
Tani
durmArgachara - ranjani - rUpakam - T
RTP - bAge srI - 'sOmasundarEsvaraya priya vAmabAgE srI rAjamAtangI' - khaNDa tripuTa (2 kaLai) sama eDuppu. Ragamalika svarams in hindOLam, rItigauLa, rEvati, valaci, kuntaAavarALi, nIlAmbari, bUpALam
tillAnA - hamIrkalyANi - Adi - TNS
vijaya gOpAlatE mangaLam - suruTTi - Adi - NT
sriyatkAntAya - srI rAgam.

TNS' sAvEri was not all that exhaustive. Also, the usage of some of the dhArasthAyi prayOgams which are not appropriate of sAvEri did not make me happy. His bhavapriyA was good and quite different from an earlier occasion when i heard him sing bhavapriyA. Contrary to that concert, his bhavapriyA was not sounding like anyother ragam. The kharaharapriyA was not all that great.

Manjunath's violin good and living up to whatever TNS did. He actually followed all that TNS sang thro' the concert. I could clearly hear him as i was sitting on stage. He was actually very good in an absolute sense. For the kind of violinsts TNS usually goes with, he was far better.

TS played really very well. One could hear him playing all the sangatis. Karthik was good also.

Jayanthi Kumaresh, Brahma Gana Sabha

Jayanthi Kumaresh - vINai
Arjun Kumar - mrUdangam
Sukanya Ramgopal - ghaTam

Brahma Gana Sabha, Sivagami Pettachi Auditorium

17th December 2005 4:30 - 6:30 pm

pUraya mama kAmA - bilahari - Adi - nArAyaNa tIrtar tarangam (S)
ardanArIsvaram - kumudakriyA - rUpakam - MD (RS)
taru varNam - khamAs - HMB
tatvamariya taramA - rItigauLa - PS (RS)
bhajarE rE citta - kalyANi - misra cApu - MD (RTNS)
taniyAvardanam
pUnguyil kUvum - kApi - kalki

Jayanthi could have done a better job in all parts of the concert. Her music was a bit disturbing when there were some gimmicky phrases during the improvisational parts. The most essential part of veena music, the gamakkams, were not present even to the necessary amounts. The excessive use of r g m phrases in the reetigowla and excessive usage of dhaivadha nyasam, than the nishada nyasam for kalyani were things which she could have handled a bit more better. There were some repetitive phrases as well.

The percussionists provided good support, though they were a bit lost in some parts during the korappu swarams. There was a noticable increase in the tempo during the tani.

T K Govinda Rao, Nada Inbam

T K Govinda Rao - B U Ganesh Prasad - Srimushnam Raja Rao

Nada Inbam, Raga Sudha Hall. 15 December 2005

abhimAnamEn - bEgaDa - Adi - paTNam subramaNya iyer (RS)
ikanaina nA - pushpalathikA - Adi - tirupati nArAyaNa svAmy (NS)
vEnkaTa saila vihArA - hamIrkalyANi - Adi (2) - subbarAya sAstri (RS)
bOgIndra sAyinam - kuntaLavarALi - kaNDa cApu - svAti tirunAL (RS)
kaNamum maravAdE - sAmA - Adi (S)
kArubAru - mukhAri - Adi (2) - T
R T P - tODi - catusra jAti tripuTa tALam (kaNDa naDai) 5 aksharam eDuppu
'neratA marulu koNTi vANipai sAla sadAnanda'
taniyAvartanam
pallavi continued in catusra jAti tripuTa tALam (tisra naDai) with 3 aksharam eDuppu
Adaya srI raghuvara - Ahiri - Adi (2) - T
manju nIhar - kAvadi chindu - rUpakam (tisra naDai)
pAhi rAmachandra rAgavA - yadukula kAmbhOji - tisra laghu
nI nAma rUpamulaku - saurAshTRam

The T K Govinda Rao concert at nAda inbam was one of the best concerts one has heard, to say the least.

The brisk bEgaDa short sketch and the kriti gave a brisk start to the kriti. The pushpalathikA piece which followed was good in all aspects. The neraval and svarams at 'karuNinci nIvu kApATa lEdA' were very well structured.

The hamIrkalyANi AlApanai was vintage stuff. One could clearly appreciate a classical difference in the AlApanai compared other AlApanais of the ragam. The kriti was rendered with a lot of bhavam. Svarams were rendered at both 'kaNTini kirini' and the pallavi line. Sri Govinda Rao was not satisfied with one round of svarams in both kAlams at the caraNam line that he sang yet another mutually exclusive set at the pallavi line. It was very enjoyable.

What was next was an elaboration of kuntaLAvarALi. The ragam which is usually considered fit for a filler or a tukkaDa did have scope for an AlApanai when the person singing is Sri Govinda Rao. The kriti and superb, well structure svaram which followed at the pallavi line were good.

The sAmA kriti was nice with svarams. The mukhAri kriti was moving and filled with bhAvam.

The main course of the concert was the pallavi in tODi. The two stage AlApanai would have been not less than 20 minutes. It was display of the capablities of the veteran, what is the exact way to sing each note of the rAgam was clearly shown while punctuating the AlApanai with quite a few classical phrases. The tAnam was good as it was rendered and was made better by Sri Raja Rao who provided very sensible accompaniment to the tAnam. The pallavi rendered in kaNDa naDai first and in tisra naDai after the tani was very good. One guesses, it to be an on the spot rendition. The anulomam, pratilomam part was also well executed.

The next piece was another surprise to me. Hearing a kriti as heavy as this Ahiri one, right after one hour and ten minutes of tODi was really exciting. The kriti was very well rendered and moving.

The kavaDi chindu and yadukula kAmbhOji piece were nicely rendered as well. Sri Govinda Rao had something different even in the always heard mangalam. His rendition of the piece in mEl sthAyi was amazing.

Sri Govinda Rao was his usual self on stage. Passing some comments on stage. His voice, with the usual restrictions, still could easily travel thro' the two octaves and showcase intricate phrases and sangatis all thro' the almost three hour concert.

Sri Ganesh Prasad was just sticking to the main artist in all aspects. He provided good accompaniment all thro' the concert and followed Sri Govinda Rao almost like a shadow in most occasions. His solo versions were also good.

Sri Raja Rao was on a mission to make the concert more enjoyable. His playing according to each sangati and the sensible accompaniment thro' the concert was very much appreciable. His accompanying the tAnam made it very much enjoyable.

Over all the concert was a display of what is good music and where it rests. Senior vidwans like Sri Govinda Rao are people whom we dont get to hear often. As pointed out by somebody in yet another thread about Sri Srikantan, even leading organisations like the Music Academy have forgotten veterens of the kind after decorating them with Sangeetha Kalanidhi. When one gets to hear people of this stature, one keeps wondering as to will it be possible of today's creme-la-creme to be consistent to this extent about half a century from now.

R K Srikantan, Nada Inbam

R K Srikantan - Vocal
R S Ramakanth - Vocal Support
M A Sundaresvaran - Violin
Guruvayur Durai - Mridangam
T V Vasan - Ghatam

Nada Inbam, Raga Sudha Hall. 14th December 2005. 4 pm

sAmi ninnE - srI rAgam varNam - Adi (R)
sri mahA gaNapatI - gauLa - misra cApu - MD (RS)
canitODitEvE - harikAmbhOji - Adi (2) - T (S)
kamalAmbikE - tODi - tisra Ekam (2) - MD (RS)
hariharaputram - vasantA - kaNDa Ekam (2) - MD (RS)
taniyAvardanam
summana baruvudE - Anandabhairavi - tisra Adi - PD
smarisO sarvada hariya - hamIr kalyANi - Adi - PD (R)
mangaLam kOsalEndrAya - madhyamAvati

The concert started off with a brisk shrI rAgam AlApanai and the varNam rendered in fast pace. The gauLa AlApanai was good and the kriti was rendered with beautiful svarams at the pallavi line.

The rare harikAmbhOji kriti was a rare treat to hear and so were the svarams in the pallavi line. The tODi AlApanai was very good. The kriti was a surprise to me, it was rendered with a lot of bhavam and the svarams were too good.

The main was yet another surprise. One was quite sure that there is another main to come, when vasantA was taken up for AlApanai. The AlApanai was a bit short but very nice. The kriti was again a masterpiece, rendered with a lot of bhavam and the svarams were too good. The two dasar padams rendered well led to the Mangalam.

Sri Ramakanth was rather struggling to keep pace with Sri Srikantan. He was less creative when it came to AlApanai or svarams in all piece. During the main piece, he was more of the drone kind, than as support.

Sri Sundaresvaran was too good in all parts. His AlApanais and svarams were good. He was found singing the lyrics and the songs along side playing the kriti.

Sri Durai was too good on the mridangam. He literally played the kritis on his mridangam and the tani was good as well. Sri Vasan was his usual self being good in accompanying. The tani which was rather short was well structured and enjoyable.

Vijay Siva, Nalinakanthi

N Vijay Siva - Vocal
R K Shriram Kumar - Fiddle
N Manoj Siva - Mridangam

Nalinakanthi

mahAgaNapatE - naTanArAyaNi - Adi - MD
bhajana sEyavE - kalyANi - rUpakam - T
prEma svarUpa - Anandabhairavi - Adi - OVK (S)
aDigi sukamu - madhyamAvati - misra cApu - T (RN)
ekkAlatilum - nATTaikuranji - tisra Ekam (2) - rAmasvAmi sivan
eTunammina - sAvEri - Adi - paTNam subramania Iyer
slOkam 'sankA rUpENa' followed by sankarAcAryam - sankarAbaraNam - Adi - subbarAma dIkshitar (RNS)
taniyAvardanam
slOkam 'nAtE nAradAdi' followed by mAyamma - Ahiri - Adi - SS
nArAyaNIyam 'rukmaNi kalyANam' - rAgamAlikA (rEvati, genjUTTi, hamsadvani, pIlU, rAgEsrI, bindumAlini, srI rAgam)
oruthi maganAi - bEhAg - tiruppAvai
viruttam 'innamum sollavO' followed by varugalAmO - mAnji - misra cApu
tiruppugazh - suddhadhanyAsi - Adi
nI nAma rUpamulaku - saurAshTRam

The concert was too good to say the least. There was classism stored in all parts of the concert. I reached late, during the Anandabhairavi kriti. It was well rendered with nicely structured refreshing svarams.

The madhyamAvati AlApanai was good with quite a few very refreshing phrases. The kriti was a rare treat. The neraval was done very well at 'nIke daya puTTi'. The nATTaikuranji kriti was rendered with no hurry and it was very moving to listen to the vilamba kala rendtion. The sAvEri kriti was good also.

The sankarAbaraNam AlApanai was very refreshing with very many unheard phrases and it was very enjoyable. The slOkam was nicely structed and the kriti, 'sankarAcAryam' was rendered. It was a very good rendition with the neraval and svarams at 'parama gyAna latAlavAlam'.

The slOkam in Ahiri and the kriti which followed were rendered with a lot of bhavam. The nArAyaNIyam verses of the 'rukmaNi kalyANam' tuned by R K Shriram Kumar were rendered well and it was very good. The tiruppAvai was well rendered as well. The viruttam in mAnji and 'varugalAmO' were good as well.

The violinst, was good in all parts while both accompanying and in his solo parts. The mridangist was good in accompanying and during the tani, which was very good.

Overall a very good and enjoyable concert.

T N Seshagopalan, Meenakshi Sundararajan Fine Arts Academy

T N Seshagopalan - R K Shriram Kumar - Neyveli Narayanan - Guruprasad

Meenakshi Sundarajan Fine Arts Academy

O jagadambA - Anandhabhairavi
thelisi rAma - pUrNacandrikA (S)
angArakam - suruTTi (R, slokam, N and S at 'dInarakshakam pUjita vaidyanAta kshEtram')
manvyAla - naLinakAnti
ADa mODi galatE - cArukEsi (R, S at 'mATalADa mODi galatE')
tani
kAnIrE - khamAs - OVK
hari bolo - dvijAvanti
pravisha rAdhE - sindhubhairavi (short sketch and slokam)
vaLam peruga - sindhubhairavi
ninai madi mukha - hamsAnandi - tiruppugazh
pavamAna - saurAshTram
sriyatkAntAya - srI rAgam

TNS has sruthi problems during the suruTTi piece. His expansions of suruTTi and cArukEsi were very good. Though a bit strechted beyond limits, cArukEsi svarams were well rendered. One actually lost the cArukEsi effect during some parts of the svarams.

RKS was good overall, in both solo versions and in accompanying.

Neyveli Narayanan could have played a bit more adhereing to the kritis and sangatis.

Guruprasad was good.

Sanjay, Bharathiya Vidya Bhavan

Sanjay Subramanian
MA Sundareswaran
Guru Karaikudi Mani
V Suresh

Bharatiya Vidya Bhavan on 05/12/2005

caraNAgata vatsala - kadanakudUkalam varNam - Adi - Calcutta Krishnamurthi
samayamidE - kEdAram - rUpakam - Poochi Srinivasa Iyengar (S)
dinamaNi vamsa - harikAmbhOji - Adi - tyAgarAja (RNS)
kaDaikkaN nOkki - tODi - Adi - Papanasam Sivan (RNS)
mAnamulEda - hamIrkalyANi - Adi - tyAgarAja (RS)
Thani Avarthanam
EdayyA gathi - chalanATTai - Adi - kotIsvara Iyer (R)
Ivan Yaro - kAmbhOji - Misrachapu - kavi kunjara bharati
Azhwar Pasuram (Kaapi), Kachiekamba Maalai (Mohanam) & Muruganai Maalon Maruganai (Surutti) Viruthams
sollavallAyO - Ragamalika(suruTTi, pantuvarALi, aTANA, shanmukapriyA) - rUpakam - Bharatiyar
nAdi tEdi - Bagheshri - tisra Adi - tiruppugazh
nI nAma rUpamulaku - saurAshTRam - Adi - tyAgarAja

kEdAram piece and the svarams were amazing, to say the least.

harikAmbhOji was started unambigously, but later had some kEdAram, kAmbhOji and khamAs influence, in some phrases. The violinst also suffered similar difficulties. This happens during AlApanai, neraval and svarams.

The tODi was not completely to its full capacity. Given the kriti taken, the AlApanai, neraval and svarams did full justice.

The hamIrkalyANi started as though it was kalyANi. It only after about 5-6 phrases, this ambiguity was cleared. The AlApanai and svarams were very good.

The Violinst provided very good suppot.

The mrudangist and ghatam artist were very vibrant and kept upto the beat, without even the slightest mistake. The tani was quite a enjoyable affair.