Invocation song on Ganapathi
Sri Ragavendra Sathguru- Sri
Begada- Sathgurunada Manam Irangatha – Murugan
Nasikabooshani (70the melakarta) – Sadhanandha Nilaye – Ambal
Priyadarshini (27th Melam Sarasangi) – Sannidhiye Sadha Vendinen – Ambal
Hari Amsaney – Rathipathipriya – Ayyappan
Keeravani- Raga Rasika Sironmani - Alamelumanga
Kamas- Annaye Nin Paadamae- Ambal
Adhimadhyantha Rahithey – Kathyayeni (20th Natabairavi)- Ambal
Vrittum – Karnaranjani, chalanattai
Unakku Inai Neeyae – Chalanattai – Barathamatha (patriotic song)
Raji Gopalakrishnan gave an inspiring performance exclusively singing compositions of K. Ramaraj. The objective of this concert was to popularize the vageyakara’s krithis, so I won’t net pick on the artist performance much. Though it took the artist 2 kirtis to warm up, she still gave a satisfying performance.
In the krithi “Sathgurunada Manam Irangatha” in Begada the artist profusely pleaded Lord Muruga to look upon her. This kriti utilized every bhava aspect of Begada ragam. Both the vageyakara and the artist gets an A+ for the confluence of the sahityam and raga lakshanam.
Nasikabooshani was the next item served. Handling certain Prathimadhyama ragams can be an arduous task and not only does it require courage and maturity, but adeptness too. Of the 36 Prathimadhyama ragams only 8-10 are commonly sung and rest are yet to be explored. The artist gave a neat sketch of the ragam and H.N. Bhaskar followed up with a superb delineation. Sri. Ramaraj now adds another valuable kriti to the scanty collection in this raga. The artist could have further explored the richness and depth this raga by singing swarams. I guess she was more interested in delivering the sahityam, while the richness took the back burner.
Priyadarshani (Janyam of 27th melam Sarasangi) was the next tough cookie to break in. The artist did a fair job sketching the outline of this ragam. But to enjoy the nuances of this raga one ought to go back and listen to MLV rendering this raga. Apart from Rukminipathe we now have another kriti to popularize this raga.
Being Sabarimala season the artist made Ayyappa Bakthas dance to this song in Rathipathipriya. Kudos to Sri. Ramaraj, yet another addition to this eka kriti ragam.
The main raga for the evening was Keeravani. The vocalist and violinist brought out bhavam and bhakthi aspect of this raga. She could have taken up neraval to show the richness of the sahityam, but she didn’t for some reason.
Kathyayeni was the next number, which already won raving reviews from the press and critics. As the sahityam says “Sruthi laya bhava nirathey” Raji’s music was blessed with copious supply of all three.
The last number sung in Chalanata had a timely message for today’s world that is filled with violence and bloodshed. This was in praise of “Barathamatha” and “Baratha Bhoomi” emphasizing the importance and the need of the hour “Ahimsa”.
Sri. K. Ramaraj is an invaluable treasure to this soil. This is just the beginning for Sri. K. Ramaraj and let his wish him good health and long life to continue his yeoman service to the music world.