57th Gokulashtami
Celebrations. Krishna GAna Sabha, T.Nagar
Sikkil Gurucharan
Kamalaka Rao
Venkatram-Violin
A.S.Sankar-KanjirA
1.varNam – Kadanakudhoohalam- Mysore Vasudevachar
2. Pushpalathika rAgam outline followed by “ikanaina nA moraleena rAda” – swaram in “ikanaina”-kriti by
Tirupathi nArAyana Swami
3. ShadvimArgani or Vasanta varAli- rAga-Submain – pAhi rAma duta jagat prAna kumara – Kriti by Thyagaraja – neraval in “karunArasa paripUrna kanchanAdri samadEha”
4. nandagopAla- Dikshitar –yamunA kalyAni
5. Main-kAmbodhi- rAsA vilAsa- Swathi TirunAl-neraval in “
6. Tani
7. GuruvAyUrappanE-Ritigowla-Ambujam Krishna
8.LatAngi-RTP-pallavi “vEnkatararamanA sankata haranA-Tirupathi” –raga mAligai in karnA ranjani, (not known), begada..
9. vEyuru toil bangan- verse from dEvaram followed by “chandrashekara Eesa”-Sindu bhairavi”
10. TillAna-udayaravichanrika
11. Mangalam
SGC- Do not expect extra ordinary gimmicks “ahAs, oohs” etc or mahArajapuram type mellifluous beauties in his concert. Grammar packed, well rendered swarAs, sticking to time, lot of bhAvAs is his concert type. His accompaniments are equally excellent and tani is a wonder to listen. Well rendered.
Excellant – rAgam of shadvi mArgani- one side it looked like varAli, then vAchaspathi- SGC clarified the rAga name. Heard it first time and thoroughly enjoyed.
Kamboji alApana was another one. Kriti as jati in that kriti was superb. Violin could not produce that intensity in return. Tani was excellent.
Not Ok- nandagopAla was not rendered in line with my thinking as I grew up listening to Maharajapuram version. The latter’s version is soothing and his rendition at “pEEthambara pannaka ShayaNa”..... was amazing.
