Ramakrishnan Murthy brings training and technique in equal measure to his concerts

Ramakrishnan Murthy’s performance featured a palette of ragas, talas, composers, tempos and, astir importantly, a good equilibrium betwixt Kalpita and Kalpana Sangitha.

‘Amba kamakshi’ (Yadukula Kamboji, Syama Sastri, Misra Chapu) provided a bully anchor to the temper Ramakrishnan whitethorn person sought to create. Being the opener, it was astatine a briskier gait than usual.

The Nayaki kriti, ‘Nee bhajana’ by Tyagaraja, with crisp swaras successful 2nd speed, had a vintage stride — a brisk Tyagaraja kriti successful the aboriginal signifier utilized to beryllium the unwritten norm. ‘Paarka paarka’ by Gopalakrishna Bharati successful Harikamboji is simply a uncommon creation that Ramakrishnan inserted for connection and composer variety. ‘Ninnu juchi’ successful Sowrashtram (Patnam Subramania Iyer) had a abbreviated teasing alapana and peppy swaras.

The performance yielded to a much pensive enactment with a Dhanyasi raga alapana. Oscillations successful Ni and Ga were deployed tellingly for poignancy. As always, violinist Vittal Rangan added extent to the melody. ‘Ni chittamu nischalamu’ by Tyagaraja successful Misra Chapu is the composer’s mentation of a vilambakala kriti, and Ramakrishnan afloat exploited the lilting course. Mridangist N.C. Bharadwaj aligned admirably to the lyrical spacings. Niraval astatine ‘Gurude bathrudu’ had a pleasing appeal. ‘Appan avadaritha’ by Papanasam Sivan successful Karaharapriya was deployed arsenic a tempo break.

Mohana raga had elegant passages successful the mediate octave with flute-style brushed phrases, and Vittal Rangan’s effect was arsenic sensitive. ‘Mohana Rama’ by Tyagaraja successful Adi is simply a majestic kriti with a flourish of melodious sangathis successful the pallavi and anupallavi.

Ramakrishnan’s swaras were tasteful and determination was an absorbing duel betwixt the vocalist and the violinist successful kuraippu. There was nary niraval, perhaps, owed to the agelong alapana and the gait of the kriti itself. Papanasam Sivan’s ‘Kaa vaa vaa’ successful Varali made a astonishment introduction astatine the fag end, and adjacent much astonishing was the abbreviated niraval astatine ‘Sri padmanabhan maruga’ that seemed spontaneous.

The Behag virutham of the shloka, ‘Shanthakaram bhujagasayanam’ was followed by ‘Saramaina mata’ successful a quintessential swaying tempo. Ramakrishnan rounded disconnected the performance with a bhava-filled abbreviated portion successful Pilu.