Kiranavali Vidyasankar accompanied by K.V.S Vinay on the violin and Mahalingam Santhanakrishnan (Mali) on the mridangam mesmerized the crowd at MITHAS for about four hours with music adhering to high standards of classicism. The evening started with high expectations from Kiranavali who is the granddaughter of Gottuvadyam Narayana Iyengar, sister of Chitraveena Ravikiran and a direct disciple of the legendary Brindamma.
The concert began with the Nattaikurunji padavarnam Chalamela, a composition of Rangaswamy Nattuvanar, followed by Puliyoor Duraiswaamee Iyer's Saraseeruhaasana priye in the ragam Nattai which was embellished by kalpanaswarams. This was followed by a brief Sriranjini, Ini Oru Kanam a composition of Papanasam Sivan before a grand Varali, Ka vava by the same composer. The raga was presented in exquisite style, deserving of Varali and aptly followed by Vinay. Next was a rare compostion, Amba Nelambari by Ponniah Pillai in the ragam Neelambari. Kiranavali did justice to the song which is laden with gamakas that could be easily lost if not properly presented. Dikshitar's navavarnam Kamalamba Samrakshatumam in the ragam Anandhabhairavi was a nice prelude to main piece in the Shankarabaranam. Both Kiranavali and Vinay treated the audience with some classic Shankarabaranam apalana before rendering Thyagaraja's Endukku Peddla with neraval at Veda Shastra and kalpanaswaras. The brilliant tani avarthanam by Mali was the icing on the cake.
After a rapid Entha Nerchina in Suddha Dhanyasi, Kiravavali embarked on Chakravaham for the RTP. The ragam and thanam was aptly presented by Kiravavali and Vinay. The pallavi, inspired by Dikshitar's masterpiece was Veena Pustakha Darinim Vegavahinim Ashraye in Adi tala which was followed by ragamalika swarams in the ragas Chakravaham, Dharmavati, Bhairavi, Saveri, Saraswati, Kapi and Revathi.
At this stage it was an inning of pure class and the century was on board and everyone expected slog overs with tukudas, but players has other plans and stepped it up a notch with moving javali,Saramaina by Swathi Thirunal in the ragam Behag. Following this was Tanjavur Shankar Iyer's ranjani mala, a ragamalika in the various ranjanis. Kiranavali saved the best for last, the majestic padam Rama Rama pranasaki by Kshetragna, which symbolizes the first and the last word in ragam Bhairavi rendered with all the grandeur, intricacies and subtle nuances that befits the Dhanammal bani. The tillana was in the ragam Sindhu bhairavi, a composition of Oothukkadu Venkatasubbiar and everyone still recovering from the Bhairavi were expecting mangalam but Kiranavali pleasantly surprised the audience with a rare masterpiece of Dikshitar, Hastivadanaya in the ragam Navaroj followed by mangalam to conclude the concert. Overall it was delightful concert, encompassing a variety of ragams and composers.
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