R. K. Srikantan (Vocal)
R. S. Ramakanth (Vocal Support)
Sandhya Anand (Violin)
Kumar Kanthan (Mridangam)
Sriram Ramesh (Kanjira)
1-Viribhoni_Varnam_Kedaragowla_Misra Jhampa. Rudrapatna Venkataramaiah
2-Vara Siddhi Vinayakam_Natai_Rupaka. Ambi Dikshitar [S]
3-Divakara Tanujam_Yadhukula Kambhoji_Adi. M. Dikshitar
4-Ninnu Cheppa Kaaranamemi_Mandari_Adi. Patnam Subramania Iyer [A, S]
5-Sogasu Juda_Kannadagowla_Rupaka. Thyagaraja
6-O Rajivaksha_Arabhi_M/Chapu. Thyagaraja [A]
8-Enagu ANe ranga Ninagu ANe_Kedara_Adi. Purandaradasa
9-Enduku Dayaradadura_Todi_M/Chapu. Thyagaraja [A, N, S. Thani]
Neraval at Jagela Idi Samaya
10-Eccharike_Mohana-Misra Gati. Purandaradasa
11-Na Donkadhare_Desh_Adi. Purandaradasa
12-Khandu Dhanyana_Behag_Adi. Kamalesha Vittaladasa [A]
13-Thillana_Kanada_Rupaka. Poochi Srinivasa Iyengar
April 28, 2012
I thought R. K. Srikantan’s concert that followed his receiving the Sangeetha Sagara Award from CMANA (please see Vidwans and Vidushis section) should not fade into musical history without a few words here. For want of originality on my part, I have to borrow from Shakespeare and use his words in ways to describe my impressions of this concert and Srikantan’s singing – “Age cannot wither him, nor custom stale his infinite variety. He makes us want more of his music, where most he satisfies”
A glance at the kriti list mirrors his broad repertoire as also his deep roots in classicism. Though a part of his musical lineage is traceable to Thyagaraja, the course of his musical life has been a personal interaction with the stalwarts of this time. That it has molded his musical thoughts is evident every time one listens to his music. He is truly a confluence of many musical streams and the concert experience of a student like myself is as if I have visited many universities of learning in one single tour.
The concert started with the rare varnam of Rudrapatnam Venkataramaiah in Kedaragowla. After a prayer to Vinayaka, the kriti Divakara Tanujam was no surprise, being Saturday. The Mandari kriti of Patnam Subramania was rendered with the right touch of voice and vivacity to be truly musically moving. This is purely personal, but listening to the Mandari varnam of Vasudevachar of the Patnam school has a similar emotional response from me.
The pieces that followed reflected his own musical roots influenced greatly by the Thyagaraja lineage. Kannadagowla and Arabhi, and the main raga (Todi) were rendered with an authenticity that could serve the younger generation as models of kriti rendition.
Having tuned many devaranamas in his long musical career, the audience expects him to sing a few of these and it was not disappointed. Being influenced by Ariakudi and Musri in his musical life, I am guessing that Khandu Dhanyana in Behag and the Poochi Thillana in Kanada were homages to the Poochi-Ariakudi musical lineage.
Ramakanth, as a co-vocalist (permit me this new term), was a musical support to Srikantan in the best way possible. Being a vocalist in his own right, nurtured in the Srikantan tradition, it is a symbiosis of two talents on stage, contributing to a great musical experience. The voice and the musical zest of the vocalists produced a musical aura that was easily seething into the audience.
The relatively young (agewise!) accompanists did a great job to support the Ocean of Music they were on stage with. They are all talented ‘local’ artists who are enriching the musical life of these shores. Sandhya’s violin respectfully followed the music of the senior artist. Her violin playing has a great musical timbre, her imagination equal to the occasion and she pulled off a grahabhedham adeptly, following the volcalists. Kumar Kanthan’s mridangam support was measured and meted out in the right way. Sriram on the kanjira played his collaborative role equally well.
I want to conclude this short essay of my impressions of this evening with the words of Tagore that might apply to Srikantan as well – “… today well lived makes every yesterday a dream of happiness, and every tomorrow a vision of hope.” Srikantan is living everyone of his ‘today’ to the fullest extent, making us the beneficiary of his enormous musical virtuosity.
Last edited by Ramaprasad
on 30 Apr 2012, 08:12, edited 2 times in total.