By Asmita Padmanabhan 

Vidwan Ramakrishnan Murthy's concert for Brahma Gana Sabha was a late start but worth the wait. Accompanied by what probably is his best team, vidwan N.C. Bharadwaj on the mridangam and vidushi Charumathi Raghuraman on the violin, the synergy between the trio, built over years of performances and tours, was palpable.

The concert opened briskly with Nadachi Nadachi in Kharaharapriya. The kalpana swarams, though a tad fast, were engaging, supported by Ramakrishnan's bold, resonant voice that drew the audience into the music. However, the speed occasionally overpowered the nuances, making it feel slightly rushed.

Telisi Rama followed at a lively pace, where the swift tempo felt right initially but eventually became a bit tiring without the needed contrast. The niraval at Ramayani Brahma was quite brief, and the mel kalam niraval, each less than an avartanam, felt more like additional sangatis rather than a deep exploration. The kalpana swarams here, too, suffered from the relentless pace.

Sindhubhairavi alapana was a spectacular highlight, with Ramakrishnan Murthy navigating almost all notes beautifully. It was unusual to hear Sindhubhairavi so early in the concert, but a welcome move. His handling of the higher octaves was exceptional, though the pace never quite slowed, leaving little room for pauses. The rendition of R.K. Shriramkumar’s Apara Karuna Sindhum Bhairaveesham was slow-paced. The soulful interpretation, brought out the composition's full emotional depth, specifically the line Nijaananda anubhava pradam.

The Huseni kriti, Pahi Mam Brhannayike, was another standout, where the slower pace allowed the raga's beauty to shine. The Behag raga did not follow a conventional structure, it was more of seamless phrases but with excellent continuity. Charumathi’s exploration of the higher octaves was magical, and when Ramakrishnan resumed, he began with a more structured approach, with nyaasam at the mel shadjam. His descent with jarus was particularly impressive.

The tanam in Behag was elaborate, especially in the higher octaves, filled with jantai patterns. The pallavi, Smara janaka shubham charita, featured an elaborate niraval at Akhila Loka Padmanabha. The swaras maintained the gentleness of Behag, keeping its delicate charm alive. N.C. Bharadwaj’s accompaniment was smooth, adapting beautifully to Ramakrishnan’s varying pace and providing an elevated experience when required. The thani avartanam was well-received and added to the concert's energy.

Ka Vaa Vaa in brisk pace showcased the mridangam's brilliance, with super-fast swaras in the pallavi. The swaras ending in various places -  Pazhani Malai and Uraiyum Muruga were exciting and energetic. The viruttam Sayankale Vanante transitioned through Khamas and Desh before concluding with Krishna Nee Begane, offering a fitting end to the concert.

(The author is a freelance writer and a student of Carnatic music)