A Sadasivam, Dikshitar Day, Music Club IIT Madras

A Sadasivam - S Varadarajan - Trichur C Narendran

Dikshitar Day, Music Club IIT Madras.
14th November 2006. 7 pm.

ucchishTa gaNapatau - kAsirAmakriyA - Adi (S)
sandhyA dEvIm sAvitrIm - dEvakriyA - Adi (S)
guruguhabhavAntaraNgiNIm - caturaNgiNi - cApu (RS)
siddIsvarAya namastE - nIlambari - cApu
shrI satya nArAyaNamupAsmahE - shiva pantuvarALi - rUpakam (RNS)
tani Avarththanam
praNatAtiharAya - sAmanta
RTP - nATTakuranji - kaNDa tripuTa (4 kaLai)
'then param girivaLar muruga guhanE deivAnaikaruL saravaNa bava guhanE'
rAgamAlika svarams in bEhAg, nartaki, rEvati
pasupatIsvaram - rAgamAlika (sindhubhairavi, hindOLam, bEhAg, kApi) - rUpakam - Kallidaikurichu Ananthakrishna Iyer
lalitA paramEshvarI - suruTTi - Adi
mangaLam kOsalEndrAya - suruTTi

The concert started off with a short sketch and the kriti ucchishTa gaNapatau with nice kalpana svarams. The second kriti on sarasvati dEvi was also nicely rendered and the svarams with intricate kaNakku, which were good also. The first elaboration of the evening was caturaNgiNi, which is the 66th asampUrNa mELa rAgam. It was very nicely elaborated and the kriti was rendered very well with nice svarams. The nIlAmbari kriti was nice as well.

The shivapantuvarALi AlApanai brought out the complete flavour of the rAgam and the kriti was rendered beautifully. The neraval at 'mathsya kUrma varAhAdi dasAvatAra prabhAvam' was nicely done with graha(sruthi) bEdam to madhyamAvati and suddha dhanyAsi, with nice kaNakku and kOrappu svarams to follow. The sAmanta kriti was nice also.

The nATTakuranji AlApanai was good. The tAnam was really nice as well. The pallavi was nicely rendered doing the tri kAlam and anulOma and pratilOma, and the rAgamAlika svarams.

It was a nice concert from a rather less known artist. His voice could display all his ideas and he was very good. It was again a grim reminder that, for every good musician we get to hear, there perhaps ten others who are languishing for want of opportunities to perform. Will our sabhas be willing to go after those who do not seek and those who have none to 'recommend' them?

The violinist was good in all his replies and in accompanying the artist. His AlApanais and svarams stood upto those of the main artist. The mrudangist was very mature in accompanying, playing according to the sangatis and also, meticulously following the kriti. The tani was good also.