In a deeply introspective mood, vocalist Ramakrishnan Murthy brought in emotive depths into all his renderings to the delight of the appreciative audience.  He struck the right chord at the outset with a moving Syama Sastry’s classic swarajati, Rave Himagiri kumari (Todi). 

It came as no surprise that the artist—renowned for his inventive instinct—transitioned into a Begada varnam, offering a short niraval suite and, aptly, leaving out swarakalpana in the charanam. Ramakrishnan Murthy supported by L. Ramakrishnan on the violin, Vijay B. Natesan on the mridangam, S. Sunil Kumar on the khanjira carried forth this aesthetic introspective mood till the concert end. 

The audience quickly warmed to his musical approach. Even when lesser-known pieces created a brief lull, he had no trouble pulling the crowd back in. His easy connect with listeners and his smooth, assured presentation kept the hall engaged throughout.

Ramakrishnan Murthy after the Swati Tirunal piece Narasimha mamava (Arabhi) with kalpana swaram followed it up with Kanugonu (Nayaki, Tyagaraja) and Borava barama (Bahudari). Even as he launched Bahudari alapana, one could see heads nodding in the audience gallery. Swara kalpana ensued as a cascade at this kriti’s end. 

The artist followed this with a more intricate Varali alapana, which naturally unfolded into a tana section weaving together the ghana panchaka ragas—Varali, Arabhi, Gaula, Nata and Sree ragas. While this approach has its roots in tradition, with vainikas of earlier generations frequently exploring ghana raga tanams before a kriti (given the centrality of tanam in veena artistry), it was refreshing to hear this idiom brought into a contemporary concert setting with clarity and intent.

Violinist L. Ramakrishnan added plenty of improvisational skills in this ghana raga tanam suite and in general during the concert.  The tanam singing came before the kriti Maragatha mani varna (Varali raga, Tyagaraja) where Ramakrishnan Murthy packaged a smart rendering with kalpana. Vijay Natesan on the mridangam and Sunil Kumar (khanjira) carried forth the rhythmic aesthetic in a tani.  The vocalist ended with other compositions such as Kumaran thaal (Yadukulakamboji) composed by Papanasam Sivan; Sodanai sumaikka (Kapi raga, Papanasam Sivan). It was a well-rounded concert that showcased his strengths as a thoughtful, assured, and consistently engaging musician.

Renuka Suryanarayan

The author is a professor of journalism and a trained Carnatic vocalist.