Maharajapuram Ramachandran- Concert Review

MAHARAJAPURAM RAMACHANDRAN AT HIS BEST

LIST OF SONGS:

1.  Nearanammithi  (Varnam)                                     Kanada

2.  Vallabha Nayakasya                                               Begada (S)

3.  Jayajaya…Janakikantha                                         Nattai (S)

4.  Brochevarevare                                                       Sriranjani (S)

5.  Muddumomu                                                          Suryakantham  (R,S)

6.  Evarura                                                                   Mohanam (R,N,S)  Tani

7.  Sami Mayuragiri vadivela                                       Nagaswaravali

8.  RTP – Vasantotsava Priyakaram Govinda Kalyana  -  Kalyanavasantham

9.  Shobane                                                                  Pantuvarali (Madyama sruti)

10.Ksheerabdikannike                                                 Ragamalikai

11.Govinda ninnanamave                                            Janasammodini

12.Pavamana   (Mangalam)                                          Sourashtram

There is a great fan following for the unique style of Maharajapuram school.  The adherence to tradition, aesthetics in rendering of the raga and swaras following every song is the special ‘bani’ of the school which the rasikas look forward to eagerly.  The torch bearer of the Maharajapuram style,  Vidwan S. Ramachandran was at Nadasurabhi on Sunday, 15^th April 2018, to treat the audience to a much awaited Maharajapuram flavour!  His nearly 4 hour journey on the stage started with the evergreen Kanada varnam, Neranammithi.  Vallabha nayakasya in Begada was embellished with numerous sangathis in pallavi and swaras.  A popular Natta raga composition of Purandaradasa, Jaya….Jankikantha was blissful and he painted the glorious picture of the raga through his elaborate swara prasthara with the required, occasional ‘dhaivata’ usage.  Thyagaraja’s Brochevarevare in Sriranjani, once again followed by swaras at pallavi was brisk and appealing.  A detailed sketch of raga Suryakantham was very pleasant and restful before presenting Thyagaraja’s Muddumomu with beautifully patterned swaras of course!

Evarura in raga Mohana was the main piece of the day.  The Maharajapurams have patented this raga by their grand rendition of the raga and popularising several krithis in this raga.  Ramachandran’s treatment of the raga with endearing sangathis, and effortless singing in all three octaves was efficacious.  The finer aspects of Mohanam were showcased also in the song, which was presented in all fervour and the intricate swara patterns were delightful.  The spirited Tani avartanam by Anoor Anathakrishna Sharma and Vyasa Vittla that followed was of a high standard added colour.  The artist inserted a small tamil composition of Kavi Kunjara Bharathi before moving on to a charming RTP in Kalyana Vasantha.  The alapana and tanam were effective in building up the platform for the up coming pallavi – ‘Vasantotsava priyakaram, Kalyana….’.  Swaras in Kalyana Vasantha, then Kalyani,and Vasantha and then alternating between kalyani and vasantha and the final landing in kalyana vasantha were done meticulously in a highly delightful manner.  Shobanae, Ksheerabdi kannike and Govinda ninna namave chanda were the few pieces before closing with pavamana.

Vidwan T.S. Krishnamurthy gave adequate and valuable support.  The percussionists were highly supportive and great understanding throughout the concert.  It was a concert of a high standard and  was well attended.