Vid. Harish Sivaramakrishnan gave a vocal concert on the sixth day of the music series of Sri Ramabhyudaya Sabha at Alammana Choultry in Srirampet. He was accompanied by Vid. Karthik Nagaraj on violin, Vid. Arjun Kumar on mridanga and Vid. G.S. Ramanujam on ghata.

Harish Sivaramakrishnan from Kerala is one of the Founder-Members of the band Agam (meaning soul in Sanskrit) and a playback singer working for Malayalam, Tamil and Telugu films. But though working for films and rock band, his discipleship and musical career under the legendary T.N. Seshagopalan in Karnatak music has given him the recognition of being a lead vocalist of Karnatak music today. The present concert was marked for his exceptional talent, creativity and great energy.

The opening number was, interestingly, Varamu with a good Alapana leading onto a rare never-heard Tamil kriti ‘sAgavaram ArulvAi RAma’ by Subramanya Bharathiyar. Harish sang swaras only in the first speed explaining that he intended to sing slow and soft numbers , which was a welcome decision.

After an unhasty rendition of ‘AkhilAnDeshwari Raksha MAm’ by Deekshitar in Dwijavanti, Charukeshi was taken up. The ragalapana was commendable for the way it was built methodically focusing on beautiful phrases. Kartik’s version of the raga was equally impressive. Swati Tirunal’s ‘KripayA pAlaya ShourE ‘ set to Mishra Chapu was rendered in the right speed with also a decorative neraval at ‘nArada Mukha Muni nikara geya charita but the sahitya of the last line of anupallavi and charana were exchanged and the artistes was so carried away with the kalpana swaras that he forgot the line to be taken up after the violinist’s swara essay.

The other attraction of the evening was Nalinakanti. Harish proved in this alapana that this raga, though not a major raga, could be expanded so well. At each Sthayi swara, he explored the raga step by step, with frills and brigas and good breath control. Had the upper notes been more restrained, the effect would be still better because restraint is the hallmark of refinement.

Sri Tyagaraja’s ‘ManavyALA kinchara’ was well-rendered with a detailed intellectual swara essay for the pallavi that again reminded us of TNS.

Arjun Kumar not only encouraged the young violinist throughout, but also exchanged restrained but captivating rhythmic patterns with G.S. Ramanujam during taniyavartanam.

The concluding part of the concert included ‘Ranga Pura VihAra’ by Deekshitar on request, which the vocalist chose to sing only the pallavi and anuppallavi part as time was running out, popular devaranama ‘RAma RAma RAma SeethA RAma Enniro’ in Tilland, preluded by a shloka on RAma from Vishnu Sahasranama and ‘Ayyane Vaa Appane vaa Hariharasutane nee vaa’ tuned and popularised by his Guru TNS.

It is highly appreciative that a film music director and a rock singer can offer such music rooted in classicism. Harish is humble and keeps very good rapport with his accompanists. With some cautious moves, Harish can make it to the top.

—Dr. Padmavathi  Narasimhan