RSS

Author Archives: Jayan

T S Sathyavathi, LecDem and Concert on the Compositions of Muthaiah Bhagavathar @Nadasurabhi 05 Nov 2017

Vocal : T S Sathyavathi

Vocal Support : Archana Bhoj

Violin : Nalina Mohan

Mrudangam : Tumkur Ravishankar

Ghatam : N Gurumurthy

Theme : Lecture Demonstration + Concert on the compositions of Harikeshanallur Muthaiah Bhagavathar

Vidushi T S Sathyavathi’s lectures are always a class apart from the rest. It’s her ability to communicate, the knowledge and capability, the presence and preparation, the on stage demeanor and the her persona makes it very memorable every time I had a chance  to listen to her. Yesterday’s concert was no difference.

I have attended many special programs on Muthaiah Bhagavathar, either as a thematic concert ( The one TNS did at Gayana Samaja years ago, is still fresh in my mind) and lecture Demonstration (Prof K Venkataramanan at Essae Music is one such) in the past. A few days ago, Vid Shyamala Venkatesan was singing at FM Amrutavarshini , an exclusive Muthaiah Bhagavathar concert. What am I coming to say is that it is not uncommon that a thematic presentation on the legendary composer/musician is planned and presented at many parts of the country.

Prof Sathyavathi’s talks are always unique. Instead of dwelling on the ‘Life&Times’ of the Composers and addressing the chronological importance of his events, she takes us to the music of the vaggeyakara, its lyrical beauty and structural and aesthetic brilliance.

01 On tat puruSAya (shLokam)

She started her talk by saying every  time she think of a composer and dig deep into his compositions, she gets disappointed as she cant reach the “unfathomable bottom” of  the vast reserves. Every time one think of the composer, it opens up in manifold layers. One will always be ‘wonder stuck’ on how could they be blessed and chosen by the GOD to contribute to the musical tradition and cultural values.

She said, she is not going through the biographical details, and her concern is primarily to unearth the beauty of his compositions , to analyse and appreciate. She said analyse is not in critical way, ‘no vimarshana, but darshana’.

As his background, she mentioned him spending two years in Chennai and 7  years in Trivandrum, before moving to Mysore under Nalwadi’s patronage. She also mentioned about the book on musical theory by him ‘Sangeetha Kalpadruma’.  He had  an outstanding voice , he had voice training for nearly three years. He was equally adept in all the three octaves, but was a master in tArasthayi singing. This is evident in his musical works. His practice as a Harikatha exponent , which he started at the age of sixteen -thus the ‘Bhagavathar’ name , must have helped and mandated ( to reach the masses in pre-amplification days) singing in tara sthayi. He was also an authority on languages and words. They were replete with meaning and spontaneous expression. Sanskrit and Telugu were the natural language of music and he was proficient in both, apart from his mother tongue Tamil. He learnt Sanskrit from his uncle ( she used the word sOdara mAma) Lakshman Suri. He was a very impressive personality and was well respected and honoured wherever he went. He traveled far and wide within India and outside ( Burma and Ceylon). He was a multifaceted personality in the musical field. A Bhagavathar, Singer, Vaggeyakara and writer. In the post trinity composers he is the one with pre-eminence. She said,  it is  not appropriate to compare different vaggeyakaras, but Sadashiva Rao, despite being a composer of equal if not better merit, did not receive as much popularity as Muthaiah Bhagavathar, for the latter was appealing to all ( aligned to all tastes). She also said, Thyagaraja is more popular than Shyama Shasthry through the vast spread of disciples. Muthaiah Bhagavathar, who was a Harikatha singer had his popularity with the masses. He also used this medium to popularise some of his compositions, as they were composed to suit the occasion.’ Valli Parinaya’ was one of the stories being told and many compositions like valli nayakane in shanmukhapriya ( and other Subramanya kritis) are sung during his harikatha kalakshepam.

Vaggeyakara, she said has to be an expert in 3 aspects. One should not forget the last ‘kara’ sound. He should be able to write,compose and sing. The lyrics and music has to blend. Each vaggeyakara will have his uniqueness, a stamp of individuality. If one has an ear and eye for identifying this, the vaggeyakaras approach to the rAga, tALa and lyrics can be seen as unique to him.

She quickly mentioned the compositions of Muthaiah Bhagavathar. He had composed around 400 kritis, 108 chmundamba ashtothara, 108 shivAshtothara, 7 vAra kritis ( each day of the week and not navagraha kritis), 10 thillanas, 10 varnams ( 5 in Adi and 5 in aTa, 5 pada varnam, 4 daru varnam and 1 tAna varnam).  Datu swaras, dvita , zig zag pattern, fleeting movements(flights to upper octave) and tara sthayi sancharas are some of the specialties of Muthaiah Bhagavathar.

01 mahiSAsura mardini ( varNam) – AndOlika – Adi

She illustrated the flight and dvita prayogas through the Andolika varnam. She said, HMB was very particular about each of his composition and would work until he was satisfied with it. She cited and example of him meeting Vasudevachar and requesting him to sing  Shankarabharanam. He continued this for around 6 months and during these meetings composed the Shankarabharanam kriti.

In his compositions, the ‘rAga bhAva’ shows up in the first sangati. She emphasized , it is not rAga but rAga bhAva, which comes with specific gamaka use. Raga is more than the scale, but not the soul. Muthaiah Bhagavathar also had an inclination towards holding on to a single note. She exampled with the hamir kalyani thillAna

02 thillAna ( uDanata tana ) – hamIr kalyAni   ( ta na na na na na  na na na  – 8 mAtra at Shadjam)

03 thillAna ( dhIm tana na na na dhiraNA) – vasanta – khaNDa Eka

tAra sthAyi sanchAra

All his compositions have tAra sthayi sancharas. He usually reached the tAra sthAyi madhyama/panchama in the anupallavi itself. This was largely influenced by Thyagaraja. She said, initially  he was highly influenced by Thyagaraja. The Pallavi,anupallavi & Charanam in all compositions, mostly in madhyamakala prayogas,  use of Adi and Roopakam for Tala etc. However, during the compositions of ShivAshtOthara kritis, the Dikshitar’s influence was evident. Mostly written in Sanskrit and in Vilamba kAla.

She sang parts from 3 compositions to illustrate the point.

04 kALarAthri svarUpiNi –  Urmika

anupallavi line ‘kALi karALi kapAlini shUlini’.

She said, the HArikatha vidvAn is singing here, whose voice is trained to sing at higher octaves and voluminous to reach the masses.

05 jAlandhara supIThasthE – valaji

anupallavi line ‘bAlArka kOTi prabhE’

06 ratna kancuka dhAriNi – kAmbOji

She said, rAga bhAva is replete in his compositions, and they offer many places for neraval.

‘mandagamanOllAsini, dEvEndranuta mrudubhASiNi’ from ratna kancuka dhAriNi

Who teaches neraval ? It’s the composer. The composer should allow the artist to elaborate, without disturbing the composition.

07 bhairavi paramEshvari – bhairavi

The singer should also have the ‘sAhitya jnAna’,to know where to sing neraval and where not to.

‘bhavarOga nivAriNi bhakta jana paripAlini from jAlandhara

She said, some people stop at bhavarOga in during neraval. Neraval should not be forced on the composition. As example she said some of the Dikkshitar’s composition. It is better not to sing neraval for certain kritis, else the vision of the composer is damaged.

Going back on the rAgabhAva in the first sangati or the pallavi line, she sang few  examples to clarify the point :

08 madhurApura nAyikE – chakravAkam

09 chakra rAja rathruDE – dharmavati

10 charAcharE jagad rUpE – nAyaki

11 shrI shivE jaya vaibhavE – AbhOgi

The composer has used the raga very judiciously , sangatis are apt. It is we, artists, choose to do gimmick.  One has to go closer to the composer, he will guide you and lead you. He will also tell you how much you can improvise, and whether the composition can take your innovation.

Rare Ragas

Muthaiah Bhagavathar has composed in many rare ragas, discovering them and giving them an identity. He has also brought some of the forgotten ragas to the forefront. Mohanakalyani is one prime exammple with popular compositions like bhuvaneshwariya and siddhi vinAyakam. Inspired by hindustani raga sOhini, he gave new dimension to hamsAnandi. There are as many as 30-40 compositions in rare ragas and she wanted to highlight a few of them.

12 tappu mannisO tAyE mahAmAyE – mAyapradIpam

Janya of kharaharapriya, but does not sound similar to the parent raga.

13 dEvi shrI mahAlakSmi dInapAlE rakSisO – harinArAyaNi (S )

Again a janya of Kharaharapriya. All his new ragas have scope for singing kalpana swaras

14 sArasamukhi sakalabhAgyatE – gauDamalhAr

Sahitya

He has written in Sanskrit, Telugu, Tamil and Kannada. However, he was not very comfortable in Kannada. It was not considered as a language for compositions. Nalvadi was persistent in asking them to compose in Kannada language ( including Vasudevachar) and they were very reluctant. Vasudevachar finally relented and composed Karuniso tAyE. Muthaiah Bhagavathar, used words like ‘paripAlisO’ , mAtE, tAye etc in otherwise full of sanskrit adjectives. There could also be a possibility that some court poet has written some of them and he merely set them to tune ( if the name Devottama Jois, whom he praised in the mangala kriti is taken as a clue).

In the 108 Chamundi Ashtothara kritis, the opening line itself is the name of the dEvi on whom the composition is based ( I think she mentioned the devi stothram)

15 vijayAmbikE – vijayanAgari

She said, the version ( pAThAntharam) she learnt had the words kripashAlini, but it is sung as ‘gauri pAlisO‘ these days.

16 mAtE malayadhwaja ( daru varNam) – khamAs

ettugaDe swara patterns ni ma ga ma..dha ni sa ma ni ga ma.

‘Prasa’ usage was very common in his kritis. DvitiyakSra, Adi prAsa, anthyAkSra prAsa are used in various composition. Again we can see the inspiration from Thyagaraja with his own uniqueness. She used the word , ‘anusmaraNa and not ‘anukaraNa’, or we can call it ‘prabhAvita’ .

17 siddhivinAyakam – mOhanakalyAni  – anuswram ‘m’ comes through out the composition.

Niroshtaka ( she used the name as NirOshtaka instead of the familiar nirOShta) is another interesting ragam he composed. As the word indicates there are no ma or pa in the raga as well as in the composition,where the lips do not touch each other. It is also said to be an ‘ashAsthrIya’ rAga. According to the shAsthra, rAga should have either ma or pa as ‘ma’ is the prakriti svara ( mostly influenced by the vEdic music). She also mentioned Balamuralikrishna’s lavAngi as another raga without ma or pa. She also made reference to the ‘dashakumara charitam’ of Dandi where one of the prince, whose lips were bitten by ‘love’ and thus  could not speak those syllables where lips have to close, narrated his experience without using any words which force him to close the lip. She said, this probably the first ‘nirOStaka’ chapter in literature. As an aside, let me add the book of French Writer Georges Perec, ‘A Void’ is written without using the letter ‘e’ in its entire 270 odd pages.

18 rAja rAjArAdhitE – nirOSTha

She corrected the common error of singing ‘rAja rAja rAditE’. It is rAja ArAdhitE’ . I am corrected of my wrong understanding.

JayamAlika prabandha, originally  written in 8th century and has it commentary  in rAjamAnasOllAsa where the’jaya  lakSaNa is in the beginning of every sentence. Swathi thirunal has composed one such kriti in maNirang ( jaya jaya padmanAbha)

19 jaya mahiSAsuramardini – hamsadhwani

She said, one has to take breath after the complete line and not stop at ‘jaya mahiSAsura’, which created ‘apArtha or anartha’.

With this she decided to skip the rest of her commentary and present a short concert for 45-50 mins.

Concert

01 sudhAmayi – amrtavarSiNi – rUpakam – HMB ( O,S )

02 vAnca tOnu nA – karNaranjani – Adi tishra gati – HMB ( A )

03 Adityam dEvAdi dEvam – mAyAmALavagauLa – Adi x 2 – HMB ( A,N,S,T )

neraval & swara @ ‘sakala charAchara karma sAkSinam’

04 shrI AnjanEya jagadEka vIrA – jhunjutti – Adi – HMB

05 shLOkam ( mangaLam kOsalEndrAya) – madhyamAvati

I was expecting some rare gems in the concert as well and I was not disappointed. After a brisk amrutavarshini, where she sang nice rounds of swaras, she sang a short karnaranjani alapana. Very nice and full of familiar passages  of the  raga. A detailed Mayamalavagaula alapana between both the singers before the ‘vAra’ kriti ( being the Sunday) was presented. Impressive neraval and good kalpana swaras before the percussion duo played a short tani. Both played simultaneously, as in the case of a Radio Concert. Another little gem of jhunjutti kriti on Anjaneya was sung before closing the day with a madhyamavati shlokam.

The supporting artists did a commendable job.On such a day of lecture one will be called on at random and have to stop/start as the main artist decide to stop and explain and take off from the same point.

Such programs , especially conducted by such eminent vidvans and vidushis are  instrumental in improving our appreciation of carnatic music. Vidushi Sathyavathi is one of the best in this department with her knowledge and music. Wonderful Sunday morning spent at Nadasurabhi.

PS : These are my observations from her lecture. I am sure, with my limited knowledge, I would have missed some of the points she mentioned or misunderstood a few here and there. These are my errors and not from the artist.  Corrections/ additions/suggestions are welcome.

Advertisements
 
Leave a comment

Posted by on November 6, 2017 in Uncategorized

 

Tags: , ,

Malladi Brothers @ Nadasurabhi Annual Festival , 04 Nov 2017

Vocal : Malladi Brothers ( Sriram Prasad&Ravikumar)

Violin : Nishant Chandran

Mrudangam : Tumkur Ravishankar

Ghatam : S N Narayana Murthy

List:

01 ninnE kOriyunnAdE (varNam) – kAnaDa – Adi – Pallavi Gopala Iyer ( A,S )

02 pancamAtangamukha – malahari – rUpakam – Dikshitar  ( O,S )

03 adE cUDare mOhana rUpam – mOhanam – Adi – Annamacharya ( A,S )

04 nADaDina mATa – janaranjani – Mishra Chap – Thyagaraja  ( N,S )

neraval & swara @ talaku vaccina bAdha talapAgaku sEtu’

05 ninna nODi dhanyanAdenO – pUrvikalyANi-rUpakam- Purandara Dasa ( A,N,S )

neraval & swara @ ninna nODi dhanyanAdenO hE shrInivAsa

06 shLOkam ( gAngEyam vahnigarbham) – mukhAri  ( O )

kaNNAra kaNDEnE kadirvElanai – mukhAri – Adi – Neelakanta Sivan

07 mahitA pravrddhA shrImati – kAmbOji – tishra triputa – Thyagaraja (A,N,S,T)

neraval & swara @’ mahita pravrdhha shrImati guha gaNapati janani’

08 jAnaki ramaNa – kApi – Adi – Vanamala jIyar ( O )

09 bhaja bhagavantam ramaNam kAntam – rAgamAlika – Lakshmana Kavi ( O-dEsh)

10 shrIrAma jayarAma shrngArarAma- yadukulakAmbOji – Khandachap – Thyagaraja

11 shiva shiva bhava sharaNam – saurAStram – Adi -Narayana Theertha

12 shLOkam ( mangaLam kOsalEndrAya) – madhyamAvati

Impeccably planned and executed concert by the pair. Whole variety of composers and ragam , cleverly chosen. Full marks to them for that. Also, almost everything was ‘baroque’d with an alapana here, swara prasthara or neraval. One get a wholesome feeling, despite the missing RTP. Very well done.

These days, new varnams are being pushed back in circulation. Sanjay is paioneering that effort and it is heartening to see Malladi Brothers sing an Adi Tala varnam in Kanada. There was a 2-3 minute alapana in kAnaDa and I was almost humming nera nammiti. Pallavi Gopala Iyer’s varnam was not heard in concert. There was few rounds of kalpana swaras at the end. Malahari kriti was ok, so was the short mOhanam alapana. Annamacharya composition tuned by Nedunuri garu ( the clue could be from the pallavi line) was nice.

Janaranjani was brilliantly sung, with a good neraval and decent kalpana swaras and that also helped in lifting the concert to the next level. Sriram Prasad, spoke on the importance of the composition’s bhava and the importance of lyrics. Purvikalyani alapana was fairly lengthy and very well sung. Nishant Chandran, I thought was very good in his return. Purandara Dasa devarnama was a surprise. There was an elaborate neraval at the pallavi line, with some emphasis on ‘he shrInivAsa’. Again, another detailed swaraprasthara.

They started a slow mukhari alapana and suddenly the hopes were raise for a muripemu. But that was short lived as he started a shLoka on Subramanya. Soon, we were scratching our head on a ‘Subramanya kriti’ in mukhAri, and we could not come up with one. Neelakanta Sivan’s kriti was again a pleasant surprise. Interestingly, this time they decided not sing any swaras ( all the previous 5 including the varnam was followed up with swaras).

Ravikumar started kAmbOji alapana. A wonderful effort, brilliantly portrayed the kAmbOji in its full. Nishant Chandran played good return. Lalgudi pancharatna kriti of Thyagaraja was again a welcome change. There was some hiccup in the middle but had a wonderful neraval , yet again at the pallavi line. Kalpana swaras started well in slow speed and progressed to second speed. Ravikuar had a couple of missteps in his calculation and had got it right after a couple of attempts. Tumkur Ravishankar and Narayana Murthy played an impressive tani avartanam. They percussion team was very good through out the evening. I usually like Ravishankar’s accompaniment.

Of course, there was no time for a pallavi. However, they sang some good post main kritis, starting with their schools staple, jAnaki Ramana. A kriti of Lakshmana kavi was set to tune by their father Malladi SuruBabu garu, featured next after a sweet little desh sketch. Thyagaraja kriti in Yadukulakamboji and Narayana Theertha’s saurAshtram concluded the concert with the mangala shlokam. Again, probably for the first time, I am listening to the mangalam kOsalendraya shlokam in full. Very good concert by the Brothers yesterday.

 
1 Comment

Posted by on November 5, 2017 in Uncategorized

 

Tags: ,

Vidushi Kanyakumari @ Nadasurabhi Annual Festival , 3rd Nov 2017

Violin : Vid Kanyakumari

Violin Support : Vittala Rangan

Mrudangam : Anoor Ananthakrishna Sharma

Ganjira : Vyasa Vittala

List:

01 ? -hamsadhwani (S )

02 sanAtana paramapAvana – phalamanjari

03 svAminAtHa paripAlayAshumAm – nAta – Dikshitar

04 lAvaNya rAma – pUrNa SaDjam – Thyagaraja ( O )

05 gAnamUrtE – gAnamUrti – Thyagaraja ( A,S )

06 shrI vishvanAtham bhajEham – chaturdasha rAgamAlika – Dikshitar


07 vijayAmbikE – vijayanAgari – Muthaiah Bhagavathar ( A,S )

08 heccarikagArA rA – yadukula kAmbOji – Thyagaraja

09 shrI krSNam bhaja mAnasa – thODi – Dikshitar ( A,t,N,S,T)

neraval & swara @ shankha cakra gadA padma

rAgamAlika swaras in ??, kApi,rEvati,valaji?

10 muraLIdhara gOpAla – mAND – Periyasamy Thooran

11 krSNA nI bEganE bArO – yamuna kalyANi – Vyasaraya ( S )

12 rAmachandru nipuDu raghuvIruDu – dvijAvanti – Annamacharya

13 venkaTAchala nilayam – sindhubhairavi – Purandara Dasa ( O )

14 bhAgyAda lakSmi bAramma – madhyamAvati – Purandara Dasa

15 hari nInE gati endu – karNaranjani – Purandara Dasa

16 mangaLam – saurAStram

I was reluctant to attend the concert, as I was late to reach the venue. It was already 7:20 and there was major issue to find a place to park, as the main auditorium had some function. The thoughts of returning was so strong, but good sense prevailed at the end. She was concluding the Dikshitar’s chaturdasha ragamalika kriti as I entered. Hence, my impression of the concert is based on the rest of the concert. However, I am sure the same characteristics would have preceded the earlier songs as well. I was told that the gAnamurti was  excellent as well.

A spectacular vijayanAgari was the welcome. I pointed out to my friends later that this was one of the best vijayanagari I listened ever. Outstanding swaras she played with Vittala Rangan. It will remain in memory for a while. She asked if there are any preference for the main rAga. Various choices were aired and kAmbOji, thODi and kApi were the loudest. I think kAmbOji was then conveyed. But she said, she had a plan to play heccarikaga ra and started playing that. May be in a slightly faster tempo.

So the main had to be thODi. She played a brilliant alapana with her desciple joining in later, both doing a grahabhEda ( to mOhanakalyAni) and playing some awesome combinations. Tanam was equally exquisite. Shrikrishnam bhaja manasa was chosen, both playing together. She started her swaraprasthana, after a round, spoke to Shivu on her right and started playing neraval, a good one at that. Back to some impressive swara prasthana including multiple to an fro into ragamalika swaras, before handing over to the percussion team for tani. Anoor Ananthakrishna Sharma and Vyasa Vittala did a commendable job here.

Post main had a chain of songs, including many devarnamas. Krishna nee begane baro, is worth a mention with some impressive rounds of swaras.  I am not qualified enough to comment on her style of play, the fingering and bowing technique etc. But, personally I liked the style, it flows smooth and soothing, despite the attached pickup mike, which gives a different sound quality compared to Vittala Rangan’s violin.

PS : For all that I missed, Doordarshan compensated by playing her concert at the 9:00am SRSN telecast.

 
Leave a comment

Posted by on November 4, 2017 in Uncategorized

 

Tags: , ,

Kunnakudi Balamuralikrishna @ Nadasurabhi Annual Festival, 02 Nov 2017

Vocal : Kunnakudi Balamuralikrishna

Violin : H M Smitha

Mrudangam : Arjun Kumar

Ghatam : Ranganatha Chakravarthy

List:

01 Era nApai ( varNam) – thODI – Adi – Patnam Subramanya Iyer


02 iLalO praNatArthi – aThANa – Adi – Thyagaraja ( S )

03 mAyammA yani nE – Ahiri – Adi – Shyama Shasthry

04 paridAnamichitE – bilahari – khaNDa chApu – PAtnam Subramanya Iyer ( A,N,S )

neraval & swara @ ‘rokkamicchuTakunE mukkaNTi celukAnu’

05 teliyalEru rAmA – dhEnuka – Adi – Thyagaraja

06 shrI kAntimatim – hEmavati – Adi x 2  – Dikshitar ( A,S,T )

07 RTP – laLita – tisra tripuTa x 2 , 1/2 beat eDuppu

pallavi line ‘ trilOka mAtA nannu brOvu laLitAmbA’

rAgamalika swaras in kAnaDa,hamIrkalyANi,nIlAmbari, Ahiri, sahAna, kadanakutUhalam?’

08 thillAna – dhanAshrI – Swathi Thirunal

09 tirupugazh ( Erumayil) – suruTTi

10 mangaLam – saurAStram – Thyagaraja

A loud, forceful, energetic concert by Kunnakudi Balamuralikrishna. Should I say breath taking. It took a while after the concert for me to breath normal. It was like putting the neck out from a running train, the music was hitting you with enormous force.

I reached while he started the atana swaras in full speed. When he started mAyamma at the anupallavi , I expected it to be a sober affair, but it wasn’t. It was a very forceful, powerful ahiri to me. While he was good, the sedate ahiri feel wasn’t there for me. Bilahari was the first detailed alapana, decently executed. Paridanamichite was sung well with neraval and swaras, again on a faster tempo followed by dhenuka kriti.

Now he started a fabulous hEmavati alapana. To me, the concert changed from this point. Hemavathi alapana was top class, very impressive through out, with an equally excellent return from Smitha ( she played  hemavati a week ago for Ranjani & Gayathri at Gayana Samaja). shrI kAntimatim, it had to be, and even the kriti was excellent from Balamuralikrishna. There was no neraval but was compensated with a super duper kalpana swara. Excellent percussion support from Arjun Kumar and Ranganatha Chakravarthy. The duo continued with a good tani avartanam.

There was more to come. Lalita alapana was again very very good, so was the tAnam. Some of the tAnam returns from Smitha stood out. A pallavi line , combination of paras+lalita kritis was set to tisra triputa. There was trikalam and a chain of super fast ragamalika swaras. All the ragas chosen for ragamalika swaras are something  usually sung in slow speed ( or in two speeds starting at slow tempo). But he sang all of them in ultra fast. An super speed hamir kalyani, neelambari or ahiri do not invoke the same feel as it is sung more slower and sober manner. But it was interesting to see them fly in front of you.

Post main was limited to a thillana and thirupugazh. Balamuralikrishna shown a lot of capabilities and his knowledge and I loved the hEmavati and most part of the pallavi. His energy and enthusiasm are very evident.

 
Leave a comment

Posted by on November 3, 2017 in Uncategorized

 

Tags: ,

Sanjay Subrahmanyan @ Nadasurabhi Annual Festival, 01 Nov 2017

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Ganjira: G Guruprasanna

List:

01 inta chAlamu sEyaka (varNam) – kAmbOji – aTa – Pallavi Gopala Iyer

02 kari kaLabhamukhAm – sAvEri – Eka? – Dikshitar ( S )

03 shrI pArvati paramAidvaita shivE – shrI – aTa – Kunrakudi Krishna Iyer

04 kaNDE kaNDE svAmiya bEDikoNDE – kannaDa – mishra chAp – Purandara Dasa ( A )

05 enta vEDukoNDu rAghavA – sarasvati manOhari – Adi – Thyagaraja ( N,S )

neraval & swara @ ‘cinta dIrcuTakenta mODirA antarAtma nA centarAka nEn-‘

06 tAyE ezhaipAl – bhairavi – Adi – Papanasam Sivan ( A,N,S,T )

neraval & swara @ eNNAda eNNamellAm eNNi eNNi eTTAda pErAsai kOTTai kaTTi’

07 Anandavalli – nIlAmbari – Adi x 2 – Swathi Thirunal

08 RTP – cHAyA ranjani – vilOma chApu x 4 repeats

pallavi line : ‘enkaL kulathinamudhE shrI rAmA tALElO’

rAgamAlika swaras in shankarAbharanam, aThANa, mukhAri, hamsAnandi

09 mannipugazh kOsalai tAn- rAgamAlila – rUpakam – Azhwar

10 ghaNTAmaNi ADudu – kAnaDa – Adi – Gopalakrishna Bharati

11 viruttam( vizhikku tuNAi) – ?,sahAna , behAg, jOnpuri

muruganai bhaji manamE – jOnpuri – Papanasam Sivan

12 mangaLam – saurAStram – Thyagaraja

Another one of his classic concerts. 3 hrs of high energy concert, never a lag, never a loss of focus or concentration. Variety of songs, another new varnam, a kannada kriti up front and a speciality pallavi. I guess, all that a listener wanted to absorb in a concert was there in its right proportion. Kudos to him.

One has to admire his professionalism. He was on stage at 5:55, allowing the organisers to finish the formalities of introductions. Concert started on time ( well, 6:05 ) and there was no break for next 3+ hrs.

Another not often heard varnam ( at least it was for the first time for me) , set the evening in motion. I heard a traces of Yadukulakamboji, caused some confusion on kAmbOji. But, Pallavi Gopala Iyers varnam was very good. A sudden burst of kari kalabha mukham came in , in the upper octave. He played around the same ‘ka(ga) ri’ in the kalpana swaras as well, singing ‘ga ri’ in three octaves and extending at kalabha mukham.  Made some good impression.

Another rare one followed. Kunrakudi Krishna Iyer’s composition in Shri, which started like shrI varalakshmi and had a lot of traces of pancharatna kriti, especially in the chitta swarams. First detailed alapana was in Kannada, both the artists playing it delectably well. As expected, a Purandara Dasa devarnama was sung. Enta vEdukondu had a similar high energy entry. He sang a classy neraval, toying with the words ‘enta dIrchina’ and few rounds of swaras.

Bhairavi alapana was grand. Through out the evening, I observed he was focusing his alapana largely on the upper register and the kritis in general was also picked in the same vein ( kari kaLabha, enta vEdukondu). Upacharamu jEsEvAr was playing in my min, but he decided to sing the Papanasam Sivan kriti. Another superb neraval at eNNAda eNNamellam. Some interesting laya intricacies during the kalpana swaras, which left the percussion team in somewhat disarray, while Varadarajan was in 100% adherence and support. He was in his usual best through out the evening. Tani avartanam was the Ctrl-C / Ctrl-V of a typical Neyveli Venkatesh affair. I find them so repetitive. Faster the finger moves, faster the shake of the head , louder the noise. However, yesterday he started with an entire avartanam only on the thoppi (left side) which produced a very similar sound of Ganjira. The audience definitely liked the affair as usual, evident from the applause they received.

It needed a sedate neelambari to cool things a bit before the start of pallavi. This time, he chose another new one chAyA ranjani. He explained this as a creation of GNB after being inspired by Bade Gulam Ali Khans ‘multani’. Alapana and tAnam were very good, as one would expect from Sanjay. Not sure from which text the pallavi text was adapted, but was nice. Trikalam was executed, so was multiple rounds of ragamalika swaras. There was a all Tamil post main kritis ( As some one joked post the concert, one doubt if it was ‘kannaDa rAjyOtsava’ or a Tamil Nadu one) before mangalam.

 
2 Comments

Posted by on November 2, 2017 in Uncategorized

 

Tags: , ,