Suttur Mutt had organised an excellent music concert as part of its monthly ‘Moonlight Music Programme’ on Feb. 12. The pond, surrounded by trees and plants, looked calm under the bright moonlight, creating the perfect ambience to enjoy soulful music.

Vid. Harish Sivaramakrishnan, accompanied by Vid. Mysore N. Karthik on violin, Vid. K.U. Jaychandra Rao on mridanga and Vid. Giridhar Udupa on ghata, presented a memorable vocal concert for the pleasure of the rasikas of Mysuru.

Harish is more widely known in the film industry, having won a ‘Best Playback Singer’ award. He has sung many songs in Malayalam, Telugu and Tamil films. It is both surprising and satisfying to learn that a playback singer and a Chemical Engineering graduate from BITS Pilani, is equally committed to classical music. This was evident in his performance at the moonlight concert, where he captivated the audience with his expressive singing.

Only a few compositions were selected for the evening and they were presented with great elaboration and dedication. From the opening varna ‘Chalamala’ (Natakuranji-Adi tala) to the concluding piece ‘Chandrachooda Shiva Shankara’ (Darbari Kanada-Purandara Dasa), Harish’s earnestness in rendering the compositions and his commitment to music were consistent. It was this quality that deeply resonated with the listeners. Whether in a composed piece or manodharma sangeetha, Harish dives deep into the music and carries the rasikas along with him.

‘Nathajana Paalini,’ a composition of Thanjavur Shankara Iyer in the raga Nalinakanthi, stood out with its clear phrases and attractive sangathis.

His improvisation in the kriti added a special touch. A neraval at ‘Marakata Varnashree Parameshwari’ was followed by brisk kalpana swaras. The performance of ‘Akhilandeshwari,’ the evergreen composition of Muthuswami Dikshitar in Dwijavanthi, showcased his total involvement.  A brilliant expansion of Saramathi was equally gratifying, with an easy flow of spirals.

Harish’s raga renditions are emotionally charged, almost as if he is caressing every note with utmost care. Karthik was equally engaging and the duo created a serene atmosphere with their melodious music. Instead of the popular ‘Mokshamugalada,’ Harish sang a Tamil composition, ‘Enna Tunivay’ in Saramathi.

The main raga of the evening was Brindavanasaranga. Harish effortlessly traversed all the octaves to bring out the essence and bhava of the raga. A short taana was followed by a pallavi in Adi tala. ‘Naadanai Dinam Ninai Maname Brindavanasaranga’ was a heart-touching rendition by both artistes. Jayachandra Rao impressed with his soft strokes, while Giridhar Udupa joined him, displaying skill and adaptability throughout the concert. The evening concluded with two Kannada Devaranamas — ‘Ramarama Seetharama’ and ‘Chandrachooda Shivashankara’— bringing down the curtains on an unforgettable musical experience.

Tyagaraja Aradhana at N.R. Mohalla Sabha

The first day of the three-day Tyagaraja Aradhana (on Feb. 14) began with a vocal concert by Vid. Kunnakudi Balamuralikrishna at N.R. Mohalla Sangeetha Sabha. Balamuralikrishna is known for captivating his fans with his mesmerising music and his energetic singing shines throughout his performances. He has earned numerous awards and accolades for his contributions to music. He was accompanied by Mysore V. Srikanth on violin, Arjun Kumar on mridanga and Shamith S. Gowda on ghata.

Balamuralikrishna had chosen compositions of Saint Tyagaraja and Purandara Dasa for the evening. The setlist included ‘Janaki Ramana’ (Shuddha Seemanthini) and  one of his famous Pancharatna Krithis — ‘Endaro Mahanubhavulu’ (Shree), ‘Seethamma Mayamma’ (Vasantha), ‘Karuna Elagante Nee’ (Varali), ‘Sarasa Saamdaana’ (Kapi Narayani) and ‘Rama Nee Eda Premamu’ (Kharaharapriya). The Purandara Dasa compositions included ‘Alli Nodalu Rama’ (Mohana Kalyani) and ‘Jagadoddharana’ (Hindustani Kapi).

Almost all compositions were presented with an alapana. A fast chitteswara for ‘Seethamma Mayamma’ was a  welcome highlight.

Whether in kalpana or kalpita sangeetha, his treatment of the pieces was always strong and vigorous. Both ‘Seethamma Mayamma’ and ‘Jagadoddharana’ were expressed with high spirits. His approach to any raga reflected his sound and sturdy manodharma. For instance, the neraval in the Varali kriti ‘Paramathmudu Jeevathmudu’ was expanded impressively, with his exemplary patterns drawing much admiration. The combination of spirals made it even more commendable. The kalpana swaras were brisk and rapid, showcasing his virtuosity. The Kharaharapriya alapana was thoroughly enjoyable, with both Balamuralikrishna and Mysore Srikanth contributing beautifully.

Srikanth’s bowing was melodious and soothing. Arjun Kumar  is one of the finest percussionists in the country and young Shamith Gowda was energetic and kept pace with his counterparts.

—Dr. Rama V. Bennur