Ghana Raagam - Mix of all the 5 Raagams - Naata, Gowla, Aarabhi, Varaali & Sri :
Jagadaanandakaaraka - Naata :
Krishna then chose "జగదానందకారక" [Jagadanandakaaraka], the 1st pancha ratna krithi of Tyagaraja. He sang ghana ragam (a mix of the 5) for few minutes and then rose to the Pancha Ratnam.
The swaram of the pancha ratnam was presented only on the violin and the saahityam by both. This type of presentation is striking and was felt very apt. It suits the pancha ratnas in a unique manner. The beauty of the swaras was felt to the core during Sriram's play of the swaram. The literary genius in Tyagaraja was worshipped when both Krishna and Sriram Kumar presented the saahityam.
I strongly feel that, this method should be adopted by all musicians who feel that, the effect of over all concert matters and not just the vocal artist (I do not want to use the word main artist here).
Arvind Ranganathan's Mridangam turn was fascinating. His fingers danced on the mridangam and every beat was heard clearly. Kudos to his clarity in hand!!
His patterns were nice and provided a good laya-base for the concert. His Mohara was steadfast and catchy. It was like a thriller. His following of krithis was also laudable.
He contributed to the laya-dharmam of the concert. He matched and improved Krishna & Sriram Kumar's unbreakable unity effect.
Khamas :
Krishna shifted his gear to "ఏరా? రారా" [Era... Raaraa..], a Javali in Khamas by Sri Patnam Subrahmanya Iyer.
He chose some speedy phrases in the pallavi (sangathis) which caught us all very excited. Arvind's mridangam provided wonderful end phrases to this, which increased its effect to a great extent.
Slokam & Janaki Pathe :
Krishna attempted the slokam "Sringaram....." and sang it in raaga maalika. He seemed to be paying a tribute to Semmangudi during this. His fascination towards Semmangudi garu is evident in this.
Krishna seemed to be completely carried away by the genius in Semmangudi, as anybody would love to.
He continued the Sloka in various raagas, suiting various rasaas like hasyam, karuna, bheebhatsam, roudram, saantam etc. He chose Kalyani, Begada, Saranga & then Kharahara priya. [the phrase "muni jane" was sung in different beautiful swara patterns in kharahara priya like - pa da ni da, ma da ni da, sa da ni da]
He continued Kharahara Priya with Janaki Pathe, a composition of Sri Papanasam Sivan.
[It is said that Sri D. K. Jayaraman used to sing it often].
The krithi had many good, beautiful adjectives (viseshanas) of lord Sri Rama such as - karunya jaladhe (ocean of compassion), jagadabhi rama, pattabhi rama, deena janaavana, sajjana paalaka (king of good people), neela mani nibha sareera , saaketha nayaka, etc.
I heard this krithi for the first time and loved it very much. Specially the phrase which swings like - Jaa...na ki... pathe....
Yaman - Sri Rama Chandra - Tulasi Das :
Krishna took up the bhajan of Tulasi Das. He seemed very much involved towards lord Rama (it is evident in his choice of krithis).
He again went back to the state of tranquility in which he began his concert, with Kaanada. He rendered the krithi in a serene manner.
Some phrases were dealt with slight shades of hindusthani.
He proved that, he can sing in any manner without losing the classicism of his art.
He continued in yaman the mangalam - with the slokam "Mangalam Kosalendraaya....."
He received a Standing Ovation from the audience and a big applause for few minutes altogether. He proved that he deserves it.
He was very pleasant when he met the people after the concert.
In the middle of conversation, he revealed that, he was at Himaalayas for the past 20 days..
The impact of Himaalayas and the mood of serenity reflected in his singing.
I wish that, we get to hear more and more from a true musician like him.
Sruthi Ravali
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