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Monthly Archives: February 2013

Sikkil Mala Chandrasekhar @ Indiranagar Sangeetha Sabha, Annual Music & Dance Festival 10 Feb, 2013

Flute : Sikil Mala Chandrasekhar

Violin : Mysore Srikanth

Mrudangam : Anoor Ananthakrishna Sharma

Ghatam : Ranganatha chakravarthy

List :

01 SLOkam ( vakratuNDa mahakaya)

sAmidaya jUDa (varNam) – kEdAragauLa – Thiruvottiyur Thyagayya

02  sidhi vinAyakam – mOhanakalyANi – Muthaiah Bhagavathar ( A,S )

03  marivErE gati – Anandabhairavi – Shyama Sasthry

04  rAma rAma rAma rAma, rAma ennirO – vasantha – Purandara Dasa ( S )

05  ranga pura vihAra – brindAvani – Dikshitar ( A,S )

06  bhAgAyanayya – chandra jyOthi – Thyagaraja

07 eDutA nilachitE – SankarAbharaNam – Thyagaraja  ( A,S,T )

08  jagadhOdhAraNa – kApi – Purandara Dasa

09 bhAvayAmi gOpAlabAlam – yamunA kalyANi – Annamacharya

10 tambUri mITi tava – sindhu bhairavi – Purandara Dasa

11  rAmam bhajE – durga – Swami Dayananda Saraswathi

12 bhAgyAda lakshmi bAramma – madhyamAvathi – Purandara Dasa

13  maitrIm bhajada – rAgamalika- Chandrasekhara Saraswathi

14 mangaLam – saurAshtram/SrI – Thyagaraja

“We are sold out”, said the organiser at the Ranjani Fine Arts concert. for once, I could not believe my ears, did he say we are sold out, as is the case of the new anticipated, to be block buster movie. Yes Sir, all the passes are already taken, and you may wait for a while, and see if any one has not claimed their tickets or occupied the seat. I observed very few ‘green cards’ on the table and decided to move from there. Ranjani ( the Sabha) couldn’t help Gayathri to listen to Ranjani-Gayathri concert.

Slightly disappointed, we were contemplating other options, Gayathri wanted to attend Sudha Raghunathan at Gayana Samaja. Driving towards that part of the town, I saw the message from Gayana Smaja. It said the hall was full by 4:45pm for the 6:00pm concert. For the third time, I had to change directions, and decided to give it a shot at the Indiranagar Sabha again. The previous day, the hall wsn’t crowded for Hyderabad Brothers concert.

I hadn’t listen to Mala Chandrasekhar, and instrument music isn’t my best choice. But, yesterday all that was forgotten. It was like boon in disguise. All the driving around and finally settling in at the Purandara Bhavan, possibly the best decision we’ve made. She was brilliant and presented a stupendous concert. Seldom we find the cohesiveness of all the participants in a concert and yesterday was one such concert. One should give special thanks to Sri Anoor Ananthakrishna Sharma, for the way he supported the main artist. He had an outstanding day yesterday.

On her part Smt Mala Chandrsekhar, superbly played the instrument and presented every part of the concert with such a vigour. Her alapana of brindavani was classy , the short mohnakalyani was very good and the main Sankarabharanam was in all grandeur. What I liked the most was the swara singing especially for mohanakalyani, vasantha and brindavani.  Her selection of ragas for the evening, those she planned to do detailing, the measure of each kritis were very good. The mellifluous sound waves that came through the instrument with such a clarity in all octaves. The chain of beautiful songs she played post the main were equally good.

As said earlier, the accompaniment made the day special. Be it Mysore Srikanth , with a great brindavani, or Sri Anoor Ananthakrishna Sharma , whose style of playing is always attractive to me, or the ghatam, playing a great tani avartanam with the main percussionist, all of them played to the occasion making it a wholesome concert. I don’t regret not attending the intended concert.

 
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Posted by on February 11, 2013 in Concert songlist

 

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Hyderabad Brothers @ Indiranagar Sangeetha Sabha, Annual Music And Dance Festival 09 Feb, 2013

Vocal : Hyderabad Brothers ( Vid Raghavachari & Vid Seshachari)

Violin : Delhi P Sundararajan

Mrudangam : Tiruvarur Bhaktavatsalam

Ganjira : G Guruprasanna

List:

01  SrI gaNanAtha ( gItam) – malahari – Purandara Dasa

02  gAnasudhA rasa pAna – nAta / rAgavardhini – BMK ( O,S )

03  nI daya rAda – vasantha bhairavi – Thyagaraja

04  abhayAmbikAyAm- kEdAragauLa – Dikshitar ( A,S )

05 smaraNe ondE sAladE – malayamArutam – Purandara Dasa ( A,N,S )

neraval & swara @’sakala thIrtha yAthrayu mADidantha nikila puNyada phalavu’

06  nenerunchi nAnu – mALavi – Thyagaraja

07  dinamaNi vamSa – harikAmbOji – Thyagaraja ( A,N,S,T )

neraval & swara @ ‘ dinamaNi vamSa tilaka lAvaNya’

08  ugabhOga ( jArathvavanu mADida) – rAgamAlika ( sAvEri, bilahari, kIravAni, YamunAkalyANi?)

krishNa nI bEganE – yamunA kalyANi – Vyasaraya

09  sarvam brahmamayam – madhuvanti – Sadashiva Brahmendra

10  mAtADa bAradEnO – khamAs – Narahari Dasa?

11 mangaLam – saurAshtram/ madhyamAvati – Thyagaraja

This weekend provided ample options to choose from. There are concerts at 6 or more places with some big names to select from. TMK was a strong attraction and I had more or less decided to attend yet another concert of his, almost back to back. The switch was a later reaction to my brothers call, and I decided to attend the veteran’s at the Indiranagar Sabha. It will also, make my attendance of the Week long Annual Music and Dace Festival. I am not likely to attend any other here.

Before the concert began, Sri Seshachari ( if I am not wrong with the name of the elder), paid homage to the ‘poorva pitAmaha’ of carnatic music, observing Purandara Dasa set the basics of teaching the carnatic music with the varisais, alankarams, geethams etc. It was only with geetham, he introduced ‘sahityam’. He doubted if it is appropriate to sing a geetham at a concert, but this annual festival being a tribute to Purandara Dasa and Thyagaraja, he will start the concert with the geetham.

The concert took few kritis to warm up. There was a tea-break at the end of the vasantha bhairavi kriti. Tea was served in a professional manner ( porcelain cup and saucer) instead of disposable paper cups or small steel tumbler. A short kedaragaula alapana came lightened up by the tea. There was no violin return. Dikshitar;s kriti came with short rounds of swara. Malayamarutam was a treat, more so with the neraval and swara singing. Alapana both the main artist and the violin was just ok, but the kriti and the neraval was fantastic. The longish swara singing was equally brilliant, taking inspiration from each other. That changed the overall effectiveness of the concert.

The main harikamboji alapana started a bit hazy, but grew from strength to strength. The meditative slow tempo ( often low volume) phrases were classy. He, not being at the top of his vocal ability yesterday, sang within the limits, threading from one phrase to the other with some great precision. Sri Sundararajan extended the same with a fitting play on his return. Neraval, interestingly, was done at the pallavi line and continued with decent rounds of swarams.

Tiruvarur Bhaktavatsalam, played along pretty well with the main artists. The percussion duo, then, played a spirited tani avartanam. Guruprasanna, at the end of the tani, had enthusiastic response from the brothers, who remarked that the Ganjira playing reminded him of the great Harishankar. He wished him all the success and contiue to scale greater height, beyond what is attained by Harishankar.

Post main had a beautiful ugabhoga followed by krishna nee begane baro and a request from Bhaktavatsalam. A traditional concert from the veteran artists, in an expected line. A brilliant malayamarutam and a classy hari kamboji alapana were the take of the day.

 
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Posted by on February 10, 2013 in Concert songlist

 

Sanjay Subrahmanian , Spring Festival , Sri Rama Lalita Kala Mandira 06 Feb, 2013 @ Gayana Samaja

Vocal : Sanjay Subrahmanian

Violin : Avaneeswaram Vinu

Mrudangam : Mannargudi Easwaran

Ganjira : Venkataramanan

List:

01  nera nammiti ( varNam) – kAnaDa – Ramanathapuram Srinivasa Iyengar

02  mallAri – gambhIranAtta  ( S )

03  parama pAvani – aThANa – Annasami Sasthri  ( A,S )

04  ennagANu rAmabhajana – pantuvarALi – Bhadrachala Ramadas ( A,N )

neraval @ rAmaciluka nokada penci prEma mATalADanEpa rAma rAma rAmayanucu

05  mAnam vaitharul tA sundari – SankarAbharaNam – Anai Ayya ( A,S,T )

06  ninna nambidE nIrada shAma – mukhAri – Purandara Dasa

07  RTP – kAnaDa – khanda triputa x 2 kaLai , starting at +1/2

rAgamAlika tAnam in kAnaDa, kAmbOji, janaranjani,AbhEri

pallavi line ‘srI rAma ravikulAbdhi sOma, sujana manObhirAma’

swaras in kAnaDa. No ragamalika swaras

08  mODi jEsevELara – khamAs – Pattabhiramayya

09 vaNNa mADangal – rAgamAlika ( mOhanam, hamsAnandi?, surutti) -Azhvar pAsuram

10  tumbam nErkayil – dEsh – Bharatidasan

11  thillAna – dhanasri – Swathi Thirunal

12  mangaLam – saurAshtram – thyagaraja

To put it in one word, it was cracker of a concert. Such a contrast from the previous day. Every thing was as ‘prescribed’ and executed. Not sure if there was a clue given to him, as he stuck to the traditional style including singing a pallavi in the same ragam as the varnam. Concert started 5 min ahead of time (or near about) and concluded well past 9 ‘O clock. He would have sung for nearly 3.5 hrs, with a very brief interlude by the organisers. And he did deliver a top class performance, as expected from him.

Kanada Varnam was followed by the ‘vocalisation’ of the traditional nAdaswaram mallari. It was interesting and was complimented by some smart work by Mannargudi Easwaran on percussion. He continued gambhiranatta with few rounds of swaras, again very well done. A shortish atana alapana came soon, followed by Annasami Sasthri kriti. I’ve been listening to this fairly regularly in Bangalore ( may be 3rd in last one year) , hence it is not a rare kriti anymore. Swara was sung only for a couple of rounds and nothing significant to talk about.

First major alapana was in pantuvarali, and this time he did not confuse me ( I have perennial issue with pUrvikalyani and Pantuvarali, whenever Sanjay sing the alapana ). I thought it was top  class, so was the violin return by Vinu, though he was slightly loud and squeaky sound at times (which was the case through out).  The kriti and neraval was brilliant. I liked the long neraval with the ‘rAma rAma’ chanting (!) phrases. He closed the kriti without singing swaras.

A majestic Sankarabharanam was the main. Classy 15 min alapana , built up meticulously was a treat ( except few areas of experiment , which I did not like). Anai ayya’s kriti was new to me. Rather short kriti and an absence of neraval was compensated by long kalpana swara, lasting nearly 20 mins, done in traditional 2 speed , concluding with the Mani Iyer popularised ending.

Mannargudi Easwaran as always was a treat to listen. His accompaniment was as great as ever. I am in the camp of those who prefer his accompaniment to Sanjay over Neyveli Venkatesh. He along with Venkataramanan gave a brilliant tani avartanam. It was rather too long to my comfort, spilling over to 25 mins.

A nice mukhari devarnama came before the next major take off of Kanada. Alapana was very good, so was the tanam done in 4 ragams. There was no trikalam during pallavi, but he did the same while singing the swara, with some great effects. Mannargudi Easwaran was in full anticipation and played with great control. They played another short tani avartanam at the end of the pallavi.

Post main after a short speech and presentation to the artists by Prince Rama Varma, had his usual set of kritis. The khamas kriti of Pattabhiramayya and the Desh kriti in particular was very nice. Concert concluded with the dhanasri pallavi.

As said earlier, a very contrasting presentation from the previous day, giving it a wholesomeness of a concert. And he did in style too.

 
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Posted by on February 7, 2013 in Concert songlist

 

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T M Krishna , Sri Rama Lalita Kala Mandira – Spring Festival Feb 5, 2013

Vocal : T M Krishna

Violin : R K Sriram Kumar

Mrudangam : Arun Prakash

Ganjira : Guruprasanna

List :

01  rAvE himagiri kumAri – thODi – Shyama Shastri  ( N,S)

neraval & swara @’kalyANi kanchi kAmAkshi nI pAdamE dikku’

02  SrI rAmam ravikulAbdhi sOmam  – nArAyaNa gauLa – Dikshitar ( A )

03  sanAtana paramapAvana – phalamanjari – Thyagaraja ( A,S )

04  nagna vipina nagna gagana – kalyANi – P T Narasimhachar , puTiNa

05  rAga – AlApana mAlika :-)  – vAgadISwari , gAngEyabhUshaNi , kIravANi,kApi

06  srI mAtrubhUtam – kannaDa – Dikshitar

07 tani Avartanam – khandajAti dhruva x 2 kaLai

08  tAnam – Arabhi

chAla kallalADukonna – Arabhi – Thyagaraja

09  bArO krishNayya – mAND +rAgamAlika – Kanakadasa

10  SLOkam ( rAmAya rAmachandrAya rAmabhadrAya) – SankarAbharaNam?,sahAna, kAmbOji, ? , kannaDagauLa

sogasu jUDa taramA – kannaDa gauLa – thyagaraja

11  krishNA nI bEganE – yamunAkalyANi – Purandara Dasa

12 nenjukku nItiyum – sindhubhairavi – Subramanya Bharati

13  mangaLam – saurAshtram – Thyagaraja

I would like to look at this concert in two parts. The brilliant first part, very sedate, very classical very traditional, though a bit on slower tempo. A start which gave a lot of hope for another stellar ‘concert’ as he did in the ‘amplification marred concert’ I attended at the same venue.  But then the second part , despite being good in their own rights and merits, did not leave me with a lasting impression. It was good until the beautiful poem of ‘Putina’, the shift started there on.

Vagadeeshwari alapana was good and for once, I was hoping to hear paramatmudu after a long time, but the violin alapana starting off at vagadiswari shifted /drifted towards gangeyabhushani, on a prompt by the singer. But, the short gangeyabhushani alapana from Sriramkumar was brilliant. Krishna continued the change to Keeravani with few impressive high octave singing, and yet again Sriramkumar gave a classy drift from keeravani to kapi, and was concluded with few rounds from Krishna. On completion, he announced that it was meant to be so, and there will be no kriti or pallavi to follow. Treat this as an individual item in the concert, was his remark.

After a filler in Kannada, he decided to take it a step different. He wanted Arun Prakash to play the tani as a separate piece, in any ‘tALa’ he preferred to do. There will be nothing preceding or succeeding the percussion performance piece. Arun Prakash went a step further, offering to play the tani for any talam, suggested by the audience. Some one from the audience , then shouted ‘khanDa dhruva’ and while remarking that this would be a test for him to put Tala, Krishna asked whether he preferred single ‘kaLai’ or ‘two kaLai’, and it was finalised for 2 kaLai. Thus the tani avartanam begun, and they did a commendable job, one of the best I’ve heard in recent times.

A tAnam came soon after the tani avartanam. A long and very impressive tanam in arabhi with an equally brilliant support from Sriramkumar. I couldn’t but notice the repeated phrase at ‘dhanam tA.. dhanam tA’ during his singing, not getting any response from organisers, it changed towards ‘dAnam tA’. Interestingly, he concluded it with another ‘dhanam tA’ request. No offense meant to the artist, but I found it hilarious. It wasn’t a pallavi but Chala Kallaladu was sung, which again was pretty good.

He refused the request for the usual ‘thanks giving speeches of the organisers, announced, ‘they want to thank the artists and we artists want to thank the audience, and that’s it’. Concert continued with a chain of short kritis, some of them was sung beautifully.

Fantastic start until the multi raga alapana. The concert. despite the individual pieces being brilliant, lost the overall charm after that stage.

 
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Posted by on February 6, 2013 in Concert songlist

 

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