The piece de resistance of the concert – ragam tanam pallavi - is sung in Raag Todi and comes as a refreshing twist with the beautiful composition ‘Hare Rama Govinda Murare’ set to Adi talam.

An excellent choice in the sequence of his presentations, Unnikrishnan revs up this section with a stunning portrayal of Todi, revealing a world of possibilities within the landscape of the raga. The poignant alapana in his dulcet voice gives a clean introduction of the raga’s movements and structure. The tanam picks up a sparkling energy with intricate sangatis (combinations) delivered in his dulcet timbre.

Unnikrishnan explains the meaning of the lyrics of the pallavi (composition) in English before he begins. A devotional composition which praises the powers of Lord Krishna, the flute-donning deity of the Hindu pantheon, Unnikrishnan brings out its inherent appeal with an evocative rendition.

Jyotsna Srikanth (violin), Bangalore Praveen (mridangam) and RN Prakash (ghatam) give a pleasing accompaniment to this this ragam tanam pallavi. The exciting percussion duet that follows the pallavi culminates to a lilting crescendo with Praveen and Prakash combining their efforts to produce an aesthetically valuable, mature and poised taniavartanam.

Toḍi is the 8th meḷakarta in the sampurna mela system. It was given the name Hanumatoḍi to be made to conform to the kattapayaadi sutra. It is the second raga in the second chakra (Netra chakra). In the asampurṇa mela system, the 8th meḷakarta was Janatodi. The swaras present in this raga are sadja, suddha risabha, sadharana gandhara, suddha madhyama, panchama, suddha dhaivata, kaisiki nisada.

This is an ancient raga that dates back to the period of the grama-murchana-jati system. It corresponds to Bhairavi thaat of Hindustani music. Todi thaat of Hindustani music is very different from its Carnatic namesake and corresponds to the Raga Subhapantuvarali of Carnatic music.  It corresponds to the Phrygian mode of Western music. It consists of a pair of symmetrical tetrachords separated by a major tone interval. It can portray rasas like karuṇa (compassion), adbhuta (wonder), vira (valour) very effectively, just as it can convey the feeling of devotion or bhakti bhava.

Musicians 
P. Unnikrishnan (vocal) 
Jyotsna Srikanth (violin) 
Bangalore Praveen (mridangam) 
RN Prakash (ghatam) 
Priya Prakash (tanpura) 
Raag: Todi, Ragam tanam pallavi in Adi talam

Unnikrishnan chooses ‘Hare Rama Govinda murare,’ as the composition. He gives a wholehearted rendition exposing the various possibilities of the vast landscape of Todi. He fills this stunning piece with several intricately woven ‘sangatis’ (combinations) adding his invigorating touches in the alapana, taans and niravals. In his dulcet timbre, Unnikrishnan conveys a fervent appeal that is inherent of the lyrics of this devotional piece.

Jyotsna Srikanth (violin), Bangalore Praveen (mridangam) and RN Prakash (ghatam) give a pleasing accompaniment to this this ragam tanam pallavi.

Tōḍi is the 8th mēḷakarta in the sampūrṇa mēḷa system. It was given the name Hanumatōḍi to be made to conform to the kaṭapayādi sūtra. It is the second raga in the second chakra (Nētra chakra). In the asampūrṇa mēḷa system, the 8th mēḷakarta was Janatōḍi. The svaras present in this rāga are ṣaḍja, śuddha riṣabha, sādhāraṇa gāndhāra, śuddha madhyama, pañchama, śuddha dhaivata, kaiśiki niṣāda.

This is an ancient rāga that dates back to the period of the grāma-mūrchana-jāti system. It corresponds to Bhairavi thāṭ of Hindustani music. Tōḍi thāṭ of Hindustani music is very different from its Carnatic namesake and corresponds to the rāga Śubhapantuvarāḷi of Carnatic music.  It corresponds to the Phrygian mode of Western music. It consists of a pair of symmetrical tetrachords separated by a major tone interval. It can portray rasas like karuṇā (compassion), adbhuta (wonder), vīra (valour) very effectively, just as it can convey the feeling of devotion or bhakti bhāva.

P. Unnikrishnan started learning his art at age 12 from V.L. Sheshadri. He later went to learn from Sangita Kalanidhi Dr. S. Ramanathan and Sangeetha Kala Acharya late Shri Calcutta Krishnamoorthy. He was also tutored by Savithri Satyamurthy and Sri P.S. Narayanaswamy. As a teenager, when his musical talent was spotted by family members, he was sent to attend a special workshop for 6 months with Sangeetha Kalanidhi T. Brinda and Sangeetha Kalanidhi Dr. T. Vishwa Nathan. His career took off after he sang for A.R. Rahman, which got him a national award in India as the best playback singer in 1994. Ever since then, Unnikrishnan did not look back. He left his job and took to classical music full time and has been a prolific and versatile performer ever since.

Jyotsna Srikanth is trained in both Carnatic and Western classical violin. She began rigorous training with her mother in vocal music when she was 5 years old. At 6, her interest in violin was kindled after she attended a concert of Kunnakudi Vaidyanathan. She has her gradation in Western classical from the Royal School of Music, London.

Bangalore Praveen learned mridangam from Shri M.L. Veerabhadraiah and later on, went under the tutelage of Palghat Mani Iyer. Praveen started performing on stage from a very young age – he was a child prodigy. His first concert at the age of 7 won him accolades and propelled him to focus further on his art and take up music as a vocation. He has performed in many festivals in India and abroad, accompanying some of the greatest stalwarts of Carnatic music.

RN Prakash is one of the leading Carnatic percussionists in Europe. He was born and trained in India in Carnatic music after which, during his 30’s, he had permanently shifted to the UK. Apart from being a busy concert artist, RN Prakash holds a prime position as a faculty at the London School of Carnatic Music. 

Musicians 
P. Unnikrishnan (vocal) 
Jyotsna Srikanth (violin) 
Bangalore Praveen (mridangam) 
RN Prakash (ghatam) 
Priya Prakash (tanpura) 

Raag Todi, ragam tanam pallavi in Adi talam