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Sanjay Subrahmanyan @ Nadasurabhi Annual Festival , 04 Nov 2018

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Ganjira : G Guruprasanna

List :

01 inta parAkEla namma ( varNam) – kunTaLavarALi – Adi – Calcutta K S Krishnamurthy

02 sUrymUrtE namOstutE – saurAStram – Chaturashra dhruvam – Dikshitar

03 sakala bhuvana nAyaka – kEdAram – Roopakam – Papanasam Sivan ( A,S )

04 shrI vaTukanAtha shiva samjAta – dEvakriya – mishrachap – Dikshitar ( A,N )

neraval @ ‘shakti sahita bhakti vihita dEva dEvakriyA ‘

05 kaligiyuNTE gada – kIravANi – Adi x 2 – Thyagaraja ( A,S,T )

06 jaladhisutA ramaNEna – calanATa? – Adi – Swathi Thirunal

07 maneyoLagADO gOvinda – shrIranjani – Adi – Purandara Dasa

08 RTP – harikAmbOji – mishra tripuTa, 2 kaLai , 1/2 Eduppu

pallavi line :¬† ‘ nI bhaktiyuDan tODutta pAmalaikkiNaiyuNDO, subramaNya bhAratiyE’

rAgamAlika swaras in ranjani,dhanyAsi, kadanakutUhalam, kanakAngi

kriti : pAmAlaikkINai uNDO – harikAmbOji – Adi – Papanasam Sivan

09 ettanai kOTi inbam – dEsh – Adi – Subrahmanya Bharathi

10 apadUruku lOnaitinE (javaLi ) – khamAs – ?? – Pattabhiramaiah

11 viruttam ( UraNi manOnmaNi ) – mOhanam, sAvEri, AbhEri , behAg

karpakAmbikai nI allavO – behAg – roopakam – Papanasam Sivan

12 kuru yadunandana ( nijagAda sA yadunandanE ) – sindhubhairavi – Adi – Jayadeva

13 mangaLam – saurAStram – Adi – Thyagaraja

Two weekends in row, Sunday evenings are spent in the company of Sanjay and his team, and how he made both a memorable ones. Two splendid concerts. The only regret for me is that on both the weekends, Arsenal had to content with a draw and single points each ūüôā

Some one commented after the concert that ‘kaligiyunte’ is the only kriti she was familiar with. I know it was an exaggeration but it shows the kind of selection he did for this concert.¬† The kuntalavarali varnam was a first time for me too, his Guru’s which had the ‘ragamudra’ cleverly incorporated. Very sedate, slow saurashtram , very moving. In general, the entire concert was singing mostly slow tempo kritis, especially in the first half of the concert.

Nice kEdAram alapana by both and mildly surprised with the Papanasam Sivan’s composition, as I probably was expecting MDR’s tyAgarAja gurum ashraye. Nice rounds of kalpana swaras as well. But the ‘piece de resistance’ of the evening to me was the dEvakriya. Fabulous alapana, again, slow and moving phrases. I’ve heard him sing devakriya before, but this was superb. Shri vatukanatha, of Dikshitar was very good and a grand neraval at the ‘dEva dEvakriya’ line. Awesome. He left me wanting for more, and if that is a measure of a good singing, here is one.

Keeravani alapana started with some delectable phrases. 5-6 years ago, I remember him singing this at Unnati.¬† To me, every one sings keeravani, the same way and I remarked after that concert that I was happy that there was some freshness in that alapana. Yesterday too, I liked the way he parlayed (sorry for that expression) the whole alapana. Brilliant. Kaligiyunte was good, but a little disappointed when he skipped the neraval. But, boy how did he compensate for that and more with a great swaras. The early phases were the traditional slow speed, with typical laya innovations and his usual change in sangatis. The second speed was very ‘Mani iyer’ influenced ‘sarva laghu’ style of singing. He was in some form by now. Interestingly, there was no exhilaration on his part , but the excited percussion support at time was very intrusive and wasn’t adding to the listening pleasure. The tani avartanam was good.

He sang two short kritis in quick succession before Pallavi. I would have been happy if he had skipped one and did a neraval for keeravani. Harikamboji was the pallavi raga, though it took a while to register. From the responses by many ( as seen on the social media), I wasn’t the only one who was scratching the head.¬† The opening sequence of the alapana, was teasing and flirting around shankarabharam and later kamboji. Tanam, as usual, was very good.¬† Pallavi line was, from the composition of Papanasam Sivan in the same raga. After the ragamalika swaras, he sang the kriti in full.

Post main was some of his usual list.  Javali was very nice. The rgamalika viruttam before the behag kriti was the highlight of the post main section. An ashtapadi, probably the only fast paced kriti in the concert, concluded a concert. Another enriching concert, with many not often heard compositions, by Sanjay, yet again.

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Posted by on November 5, 2018 in Uncategorized

 

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Trichur V Ramachandran @ Nadasurabhi Annual Festival , 4th Nov 2018

Vocal : Trichur V Ramachandran

Violin : M A Sundareswaran

Mrudangam : V Praveen

Ghatam : G Omkar Rao

List

01 inta cAlamu ( varnam ) – bEgaDa – Adi – Veena Kuppaiyer

02 vara vallabha ramaNA – hamsadhwani – Adi – GNB ( S )

03vallagadAnaka sItA – harikAmbOji – Roopakam – Thyagaraja ( S )

04 smaraNe ondE sAladE – malayamArutam – Adi – Purandara Dasa ( O )

05 sundaratara dEham vandEham – pantuvarALi – Adi – Thyagaraja ( A,N,S )

neraval & svara @ ‘rAgAdi samhAram rAghavam udAram’

06 jananI ninnuvinA – rItigauLa – mishra chap – Subbaraya Shastry ( A,S )

07 E tAvunara – kalyANi – Adi x 2 – Thyagaraja ( A,N,S,T )

neraval & svaras @ ‘ shiva mAdhava brahma gOvinda ‘

08 himagiri tanayE – shudhadhanyAsi – Adi – Muthaiah Bhagavathar

09 muraLIdhara gOpAla – mAND – Adi – Periyasamy Thooran

10 kaNNanE kAnbadeppO – rAgamAlika – Adi – Subramanya Bharathi

11 dikku teriyAtha kATTil – rAgamAlika – Adi – Subramanya Bharathi

12 rAdhA samEtA krSNA – yamunAkalyANi ?? –¬† Adi –¬† GNB ??

13 shLOkam ( shrI rAmachandra )  РmadhyamAvati

This years ‘Sangeethasurabhi’ recipient, presented a concert befitting his tradition and school in the morning hours at Nadasurabhi, with some remarkable accompaniment. Signature GNB school fare , probably one of the last true torch bearers of that bAni.

An outstanding kalyani was the highlight of the morning. shear brilliance. A classy alapana, despite an occasional issue at higher octaves, with many moments of aha ( knowing my preference to this rAga), splendid affair. Sundareswaran was added to it with his flare and a fabulous return. E tAvunara is a good choice, sang with a lot of intensity, emphasised and repeated the sangatis at many places. He also chose an interesting place for neraval , and by adding the last word of anupallavi to the shiva madhava brahma. Commendable neraval and a cracker of kalpana swaras, growing from the slow short phrases to a super duper finale. Highly impressed with Sundareswaran today. So was V Praveen, and percussion in general.

After a begada start, the first glimpse of the style was the GNB hamsadhwani. But, what brought the concert together and lifted was the harikamboji swaras. A not so impressive malayamarutam was followed with a GNB staple, sundaratara deham. Despite the neraval and swaras at rAgAdi samhAram, it did not really helped to maintain the tempo.  A good reetigaula, brought things back in shape.  Nice little alapana, an unhurried singing of the composition, nice and clear sangatis and commendable kalpana swaras. A good fore-piece before the main.

Post main was few songs which were sung well. Nothing to discuss greatly about. There was a request, which I guess was for rAdhA samEtA krSNA.

Earlier, Nadasurabhi’s President KSS Raghavan presented him with the ‘Sangeethasurabhi’ award in the presence of Vidushi Neela Ramgopal, who spoke about TVR and the GNB school and her admiration. Harini Raghavan, the secretary of Nadasurabhi, reading the citation, gave glimpses of his life and musical tradition. Sri Ramachandran gave one of the shortest acceptance speech, by thanking ( naming) each of his gurus from the early days to his hindustani learning.

 
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Posted by on November 4, 2018 in Uncategorized

 

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Malladi Brothers, Nadasurabhi Annual Festival , 03 Nov 2018

Vocal : Malladi Brothers ( Sriram Prasad & Ravikumar)

Violin : Nishant Chandran

Mrudangam : Tumkur Ravishankar

Ghatam : S N Narayana Murthy

List :

01 taruNi ninnu (varNam ) – kAmbOji – Adi – Fiddle Ponnuswamy ( O )

02 nArada gurusvAmi – darbAr – Adi – Thyagaraja ( A,S )

03 entani nE varNintunu – mukhAri – rUpakam – Thyagaraja ( N,S )

neraval & svara @ ‘ kanulAra sEvinci kammani phalamula nosagi’

04 shLOkam ( shrIman nrusimha vibhavE garuDa dhwajAya ) – mohanam

narasimha AgacchA – mOhanam – mishrachap – Dikshitar ( S @murahara nagadhara)

05 dhyAnamE varamaina – dhanyAsi – Adi x 2 – Thyagaraja ( A,N,S,T )

neraval & svara @ ‘dhyAnamE varamaina gangAsnAnamE rAma-‘

06 sharavaNabhava ennum – SaNmukhapriya – Adi – Papanasam Sivan

07 RTP – nATakurinji – khaNDa tripuTa, pUrvAngam in tisra naDai & uttarAngam in chaturashra nAdai , samam eDuppu

pallavi line ‘ sadA gOpAlakrSNam bhajEham, sAmaja vara gamanam’

rAgamAlika svaras in ‘AbhOgi, saraswati, vasanta, vAsanti, sAma, hindOlam, nATakurinji

08 bhAvamulOna bAhyamunandunu – shudha dhanyAsi – Adi – Annamacharya

09 sadA enna hrdayadalli – behAg – rUpakam – Vijaya Vittala Dasa ( short sketch )

10 pUraya mama kAmam – bilahari – Adi – Narayana Theertha

11 antA rAma mayam – varALi – Adi – Bhadrachala Ramadas

12 shLOkams – madhyamAvati

Very fulfilling concert. It is one of such days when everything fallen in line. There was very good coordination among all the artists, the sound levels were comfortable and Tumkur Ravishankar was fantastic. Nice selection of ragas and compositions to add to the overall good feeling.

Started 10 min late due to the late arrival of the percussion artist, who was delayed due to the Saturday evening traffic. A brisk varnam(¬† repeat of last year ) in kAmbOji.¬† Short alapana in darbar by the senior of the duo, no violin return, moved on to a beautiful rendition of nArada guruswami. Of all the darbar compositions of Thyagara, this has a different feel. They sang it brilliantly , the kriti as well as the swaras that followed. A moving mukhAri, in entani nE. Fabulous neraval and kanulara sevinci. Both the singers worked around the ‘karunala sevinci’ words with some impressive takes. The words and lines are very clear when they sing, the meaning stands out. Fitting swaras too.

A shlokam ( lakshmi narasimha strotram) before narasimha Agaccha. I thought, they sing it a notch faster than usual, or it felt so probably because the other two prior to this were slower. Swara was sung at the madhyamakala sahityam, with some quick wordplay around murahara nagadhara. Dhanyasi main with a detailed long alapana by Ravikumar. Very classy, most of the phrases were in the higher octaves, typical progression. A minute or two to explain the composition before dhyaname varamaina.  Going with the earlier explanations, they decided to do the neraval at the pallavi line, executed commendably.  Two speed swaras with some good phrases. Tumkur Ravishankar and S N Narayanaswamy played a very good tani avartanam, I am becoming a fan of Narayana Murthy now. The percussion duo played brilliantly through out the evening.

A pallavi was sure to come and he announced it on Krishna on the occasion of upcoming deepavali. Good natakurinji alapana shared between both the singers. Nishant Chandran played an outstanding alapana in his turn. Good tanam, slow, leisurely sung to maximize the impact and well received. Pallavi with trikalam was executed well , long chain of ragamalika swaras alternated between one of the singers and repeated by violin. The concluding part of the swaras , back in nAtakurinji, wasn’t done well,¬† as Ravikumar slipped , stopped, regrouped a couple of times. He was referring to some written notes ( surprising) and he seemed to have missed the footing and struggled a bit, before landing it perfectly.

Post main was , as expected, consisted of compositions of Annamacharya, Bhadrachala Ramadas and Narayana Theertha apart from a devarnama. They were all sung well, a short alapana of behag was nice. A very balanced and well executed concert.

 

 
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Posted by on November 3, 2018 in Uncategorized

 

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Sudha Raghunathan @ Nadasurabhi Annual Music Festival, Koramangala – 01 Nov 2018

Vocal : Sudha Raghunathan

Violin : Charulatha Ramanujam

Mrudangam :  Patri Satishkumar

Morsing : Bhagyalakshmi Krishna

List :

01 vanajAkSA ninnE kOri ( varNam) – mandAri – Adi – Mysore Vasudevachar

02 vAtApi gaNapatim bhajEham Рhamsadhwani РAdi РDikshitar  ( S )

03 bhajarE rE mAnasa – AbhEri – Adi – Mysore Vasudevachar

04 nannu brOvu laLitA – laLita – Mishrachap – Shyama Shastry ( A,N,S )

neraval @ ninnuvinA evarunnAru mA gati janani’

05 mella mellanE bandanE – mOhanam – Adi – Puranara Dasa

06 cEsinAdella maracitivO O rAmA – thODi – Adi – Thyagaraja ( A,N,S,T )

neraval & svara @ ‘asakonnaTi nannala pincuTaku mundu’

07 RTP – chatur rAga – mishra jhumpa, khaNDa naDai , 5 aksharam( +1 beat ) Eduppu

rAgam & tAnam in shudha dhanyASi, karNaranjani , shubha pantuvarALi , bEgaDa

pallavi lin : ‘nArAyaNa namO nArAyaNa shrI satyanArAyaNa, anudinamunu kAvumayyA’

swaras in shudha dhanyASi, karNaranjani , shubha pantuvarALi , bEgaDa

ragamalika swaras , shrutibhedam from shudhadhanyAsi are shudhasAvEri, mOhanam, madhyamAvati and hindOLam

08 viruttam ( koNDal vaNNanai kOvalanai ) – kApi

enna tavam seidanei – kApi – Papanasam Sivan

09 ugabhOga ( baliya manege vAmana bandantE ) – hamsAnandi, mAND – Purandara Dasa

bArO krSNayya – rAgamAlika – Adi – Kanaka Dasa

10 thillAna ( dhIm tadara dAni dhiraNA ) – rAgEshri – Lalgudi Jayaraman

11 mangaLam – saurAStram – Thyagaraja

Thus the second leg of the 25th anniversary celebrations and Music Festival began. Nice selection of compositions. She showed her class in the Pallavi. Well, it was an afterthought. The audience, filled the hall, were loud with their chant of ‘devotional’ on her poll after the main. The time was 8:45 and she was concerned that the concert might extend to 9:30. To our delight, she decided to sing a pallavi instead of the long chain of the same often chewed cud.

And the Pallavi was top class. Very unusual combination of ragas in a 4 raga pallavi. Taking the first line ( or a part of it) of a popular composition of each raga and forming a pallavi line is not new. But it’s the way she dealt with it is commendable. The alapana was ok, nothing great to talk about. Even the switch from one to other wasn’t a smooth glide. But from tAnam, it changed. The maneuver was exquisite. The transition, the random jump from one to the other raga, the raise and fall of the ‘sthAyi’ , the variations of the speed etc etc were admirable. Except and unwanted involvement of the mrudangam.¬† Her skills , knowledge, intelligence and execution were at best during the pallavi neraval. A complicated talam, the eduppu, the arudi after satyanarayanam and the NAdai and speed variations in trikalam were phenomenal. Full credit to the team. Charulatha was equally adept and delivered commendably well. The nice shrutibhedam shift from shudha dhanyasi, albeit very short was again come out good.

She started with the mandAri varnam and a forgettable vatapi ganapatim in hamsadhwani. The swaras for hamsadhwani was good, but all three participant ( and a mute morsing) weren’t connected well.¬† Lalita was the first alapana, she had to come to the rescue by announcing it to people. Shyama Shastry’s composition with neraval at the anupallavi line and a short round of swaras.

Thodi main with a long alapana. Typical thodi fare. Decent. Charulatha was good in her turn. Cesinadella was a good choice. Fairly elaborate neraval at the anupallavi line with some nice sangatis. Two speed elaborate swara prasthana too. Patri Satishkumar was LOUD ( or the volume setting ) and we couldn’t hear the poor lady with a small metal piece for most of the times. However she came alive, since there was no other sound, during tani avartanam and as always received a lot of appreciation for her skills.

A viruttam followed by kApi and an ugabhOga before bArO krishnayya were the highlights of post main. I like when the artists take up viruttam, ugabhoga or shLokam during the concerts. Lalgudi thillana in rAgeshri concluded the concert with the mangalam.

 
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Posted by on November 2, 2018 in Uncategorized

 

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Sikkil Gurucharan @ Nadasurabhi Annual Festival , 21 Oct 2018

Vocal : Sikkil Gurucharan

Violin : Charulatha Ramanujam

Mrudangam : H S Sudheendra

Ghatam : G Omkar Rao

List:

01 ninnE kOri ( varnam ) – vasanta – Adi – Tachur Singarachari ( N )

neraval @ ‘sUnacAruNi bAri kOrvalErA ‘

02 annapUrnE vishAlAkSi – sAma – Adi – Dikshitar ( O, S )

03 ikanaina rA moravina rAdA – puSpalatika – Adi – Thirupati Narayanaswamy ( A,S )

04 jambUpatE mAm pAhi – yamunAkalyANi – tishra Ekam – Dikshitar

05 rAma bANa trANa shaurya – sAvEri – Adi x 2 – Thyagaraja ( A,N,S,T )

neraval @ ‘tammuDu baDalina vELa suraripu temmani cekkara pancIyaga gani’

06 RTP – nAsikAbhUSaNi – khaNDa tripuTa , tisra naDai , +2 aksharam eDuppu ??

pallavi line ‘ mAravairi ramaNi , manjubhASiNi’

rAgamAlika swaras in shrIranjani, mOhanakalyANi , shivaranjani

short tani Avartanam

mAravairi ramaNi  РnAsikAbhUSaNi РThyagaraja

07 dharma shravaNa videtakE Рdurga РAdi РPurandara Dasa (  O )

08 viruttam ( kunita puruvavum ? ) РkApi  ( O )

thillAna ( dhi thillAna taka thillAna taka jhunu dhIm ) – kApi – chaturashra jhumpa – Tanjavu S Kalyanaraman

09 mangaLAm – saurAStram / madhyamAvati – Adi – Thyagaraja

The last of the October leg of the Nadasurabhi 25th year festival. Skipped the day 2, of Ranganatha Sharma. Sikkil Gurucharan gave a very good concert yesterday at the Heritage Academy.¬† The early part wasn’t as appealing to me as the second part. From the sAvEri, onward it was very very good.

As he has developed a USP these days, there was a neraval for the varnam. It wasn’t very attractive. But credits to him for singing the vasanta varnam, not often heard these days. Annapoorne vishalakshi was also not impressed me. Probably because he kept singing the pallavi line as ‘visAlAkSi’ instead of ‘vishAlAkSi’. He wasn’t addressing the one with the ‘wide eyed’ one. I couldn’t care for the rest. But he sang some nice swaras for sAma.

Pushpalatika was the first alapana and that was decent. No surprise there with ‘ikanaina’. He commented about its proximity towards manirangu on one side and rudrapriya on the other. Few rounds of swaras as well.¬† Dikshitar’s jambUpate came after and I yawned thrice.

From here, it was different. Very good alapana of sAvEri. Very well planned and progressed. Ramabana was sung beautifully. Elaborated neraval at a long line. No excesses , no unwanted stretch or bhruga sways on certain words. Very stylish. Equally brilliant was the kalpana swaras , in two speed with some exhibition of laya variations.

There was the interruptions by the organisers, done quickly. KSSR guaranteed that a pallavi is coming. It was nAsikabhooshani. two phase raga alapana was nice. But the highlight and probably the best of the evening was the tanam. An outstanding effort by Gurucharan and even better return by Charulatha. Applause galore ! Short pallavi line, trikalam and ragamalika as expected.  After a short tani avartanam, he sang the Thyagaraja kriti, from where the pallavi line was taken, in full. Sanjay does it often.

Post main had a nice durga, sang beautifully.¬† A viruttam followed by the kApi thillana of Tanjavur Kalyanaraman, which I haven’t heard this before.¬† As I said, not very gung-ho about the first 45 minutes, but very happy with the rest.

 
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Posted by on October 22, 2018 in Uncategorized

 

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