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Pravin Godkhindi and Abhishek Raghuram @ Samarasa2018, PES University 23-Sep-2018

Hindustani Flute : Pt Pravin Godkhindi

Supporting Flute : Shadaj Godkhindi

Tabla : Pt Ravindra Yavagal

Carnatic Vocal : Abhishek Raghuram

Violin :  Parur M S Ananthakrishnan

Ghatam : Vazhappilli Krishnakumar

Phase 1 – Hindustani  ( Pravin Godkhindi – Shadaj Godkhindi – Pt Ravindra Yavagal )

01  Raag  madhuvanti    for 1 hr

Phase 2 – Carnatic Vocal Concert  ( Abhishek – Ananthakrishnan-Ravindra Yavagal – Krishnakumar )   – 1 hr

01 girirAja sutA tanayA – bangALA – Adi – Thyagaraja

02 inta sowkhyamAni nE – kApi – Adi – Thyagaraja ( A )

03 bhAvayAmi raghurAmam – rAgamAlika – Roopakam – Swathi Thirunal ( A – sAveri, nAtakurinji and dhanyAsi in detail, rest in a sweeping take )

Phase 3 – Jugalbandi  for 1 hr

01 dIpALi (h) / mOhanam (c)  – Alap & tarAna/tAnam

02 tani Avartanam ( Adi )

03 bhairavi (h) / sindhubhairavi (c)  – chandrashEkharA eesha

This was supposed to be a 2 hr concert of Pt Pravin Godkhindi followed by 2 hour of Abhishek’s concert. The unavailability ( unavoidable circumstances, says Abhishek) of ArjunKumar, who had to accompany Abhishek for his concert made the whole program to undergo a dramatic change. The 2+2 hr concerts have been combined ( and split into 3 phases) into a 3 hr affair. On a positive side, one could watch Pt Ravindra Yavagal, accompanying for a carnatic concert.

The first part of Pt Pravin Godkhindi was fabulous. A sedate madhuvanti ( late afternoon raga) was very impressive. His son, young Shadaj joined in brilliantly. With my near zero knowledge, I restrain myself here from further describing the concert.

Abhishek and the team  replaced the Hindustani counterparts for the next session. He was in super form, albeit a short concert. A quick Bangala kriti followed by a captivating kApi alapana and inta sowkhyamani. There was no time for a violin return. But I expected him to sing a few rounds of swaras. Probably owing to the time availability, he quickly started sAvEri alapana. He glided mesmerisingly into nAtakurinji. That opened up the hint. Ananthakrishnan had his chance now for playing a quick return. Dhanyasi was again sang in detail and moved on to Mohanam. The rest of the alapana was done in a long single take before retracting back in the same sequence to sAvEri. All the characteristics takes expected from Abhishek was performed for the kriti. Some twists, some sudden takes, move up and down the sthAyi,  laya variations at the chittasvaras , different sangatis on return to ‘bhAvayAmi’. I hope, he takes this up in a much larger scope in one of his future concerts, where his imaginations are not constrained by time.

The third phase was not very attractive. It was mostly a mutual admiration club on the stage and was largely satisfying to their own excesses. It did have its own ‘aha’ moments, but by and large, it disappointed me. There was insistence by both the lead artists to Pt Yavagal to play the percussion solo. And they duo definitely won a lot of applause with their electrifying tani avartanam. There was a quick bhairavi/sindhuharavi piece to conclude, where Abhishek part of the kriti ‘chandrashEkharA Eesha’.

Both the individual concerts were super class, despite the short duration.

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Posted by on September 24, 2018 in Uncategorized


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Bharat Sundar @ Odukathur Mutt, SGBS Trust Gokulashtami Festival 22 Aug, 2018

Vocal : Bharat Sundar

Violin : B U Ganesh Prasad

Mrudangam : Sankaranarayanam

Ghatam : Sivaramakrishnan

List :

01 chalamEla (varNam) – nATakurinji – Adi – Rangaswamy Nattuvanar

02 sonnatai kEL kaNNA – pantuvarALi – Adi – Oothukkad Venkata Subbaiah ( S )

03 akhilANDEshvari rakSamAm – dvijAvanti – Adi – Dikshitar

04 gOpikAmanOharam bhajE ham – mOhanam – Adi – Dikshitar ( A,N,S )

neraval & swara @ ‘gOpAlam kaustubhamaNi bhUSam, kamsaharam gambhIrya mrdu bhASam’

05 gAnAmudapAnam – jyOtisvarUpiNi – Mishra Chap – Koteeswara Iyer ( A )

06 kAlaharaNa mElarA harE – shuddhasAvEri – Adi – Tyagaraja

07 naDaci naDaci – kharaharapriya – Adi x 2 – Tyagaraja ( A,N,S,T )

neraval & swara @ ‘puDamisuta sahAyuDai celenge pUrNumi ‘

08 gOvardhana giridhAra – darbAri kAnaDa – Adi – Narayana Theertha

09 krSNA nI bEganE bArO – yamunAkalyANi – Mishra Chap – Vyasaraya

10 thillAna ( taka tajhunu dhImta ) – mOhanakalyANi – Adi – Lalgudi Jayaraman

11 mangaLam – saurAStram – Adi – Tyagaraja

First of all kudos to the artist, despite all the difficulties, presented a brilliant concert yesterday at Odukathur Mutt. After a long journey from Canada, with delayed flight, missing baggage and missing the Bangalore flight, eventually driving down from Chennai, with jet lag, missing sleep and delivering a commendable concert shows his commitments and professional discipline. There was no visible signs exhibited through out the concert. Suh attitude will surely take him far in his professional endeavour. Keep it up !

Fast pantuvarali with super fase swaras for pantuvarali spiced things up after a meh! varnam.  A sedate, very pleasant dvijavanti was memorable. Unlike the rest of the concert, this was really sung very slow. Two observations here. One, the mrudangam accompaniment wasn’t very pleasing. It did not go with the feel of the composition. Two, he sang it as ‘varashailarAjanutE’  ( that is how it is given in ), but the other version ‘varashailarAjasutE’ , I think is more appropriate.

Very nice mohanam alapana by both artists. Gopika manOharam was indeed a good surprise. He sang a crisp neraval at ‘gOpAlam kaustubhamani’. He did the speed/nadai variations and in upper and lower octaves. Probably, it had to do with the scope of the composition, haven’t seen much variations in the sangati during the neraval. Swara was very good too. BUG, played some delectable phrases. Very classy alapana of jyothisvarupini, probably the highlight of the evening.

Elaborate kharaharapriya alapana. Very impressive. On the other hand, I am not all that happy with naDachi naDachi ( literally meaning ‘walking on and on’) in ‘running’. I am reminded of my first year hostel mates ( who is from Madurai, incidently) who used to play the then super hit ‘aDi AthAdeeeee’ in a walkman every morning before class starts. On most of the days, he adjust the speed of the walkman to make it run faster, as the time was short.  Nadachi nadachi was uncomfortably fast. And in that it lost some of its sheen. Otherwise, it was good. Neraval and swaras suffered by the speed, however good it was. The percussion team was decent through out, so was the tani avartanam.

He was mellowed down after this and the rest of the evening were very well done. Darbari kanada and the yamuna kalyani were splendid. Especially the early stage of Krsna nee begane baro were very good.

He is a brilliant musician. Ramesh Swamy commented on his free flowing music, which I agree with. If he is able to get the speed down by a notch or two, it would have made a himalayan difference to me.

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Posted by on August 23, 2018 in Uncategorized


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Vani Satish at Nadasurabhi , Karnataka Vaibhava , 19 Aug 2018

Vocal : Vid Vani Satish

Violin : Mathur Srinidhi

Mrudangam : Trichy G Aravindh

Ghatam : G Omkar Rao


01  jaya jaya jaya jAnakI kAnta – nATa – Khanda Chap –  Purandara Dasa  ( O,S )

02  gOvindA ninna nAmavE chandA – janasammOdini – Adi – Purandara Dasa

03  Enu dhanyaLO lakumi entha mAnyaLO – thODi – Roopakam – Purandara Dasa ( A,N,S )

neraval & swara @ ‘ sarvatrAdi vyAptanAda sarvadOSa rahitanAda’

04 nInE gati nInE mati nInE svAmi – madhuvanti ? -khanda chap –  Purandara Dasa

05 Enu sukrtava mADidaLu yashOdE – nIlAmbari – mishra chAp – Vadiraja ( O )

06 dAsa dAsara maneya – hindOLam – khanda chap – Kanaka Dasa ( A )

07 hari chitta satyA – jOnpuri – Adi – Purandara Dasa

08 mAnava janma doDDadu – pUrvikalyANi – Mishra Chap – Purandara Dasa ( A,S,T )

09 kSIrAbdhi kannike – rAgamAlika – Adi – Purandara Dasa

10 nArAyaNa ninnA nAmada – shudha dhanyAsi – Khanda Chap – Purandara Dasa

11 ugabhOga ( ninna bhaktarendelisida? ) – nAthanAmakriya

dAsana mADiko enna – nAthanAmakriya -Adi – Purandara Dasa

12 tAraka bindige ( muNDige ) – tilang ? – Adi Tisragati – Purandara Dasa

13 shLOkam ( vandE mukundam ) –  kApi

jagadOdhAraNa – kApi – Adi x 2 – Purandara Dasa

14 shLOkam ( man manObhISTha  on Purandara Dasa) – madhyamAvati

mangaLam jaya mangaLam – madhyamAvati – Adi – Purandara Dasa

Special day and a special concert by Vidushi Vani Satish.  It was announced as a Purandara Dasa compositions concert, hence the setting was clear. She did more than justice to the theme ( despite including a couple of other Dasa Composers).  Many familiar compositions, but when the Karnataka Singers perform, they have a different feel to them.

She started with a beautiful rendition of the Nata kriti. I found it very refreshing from the usual lot that we hear. The swaras followed was good too. An average thodi alapana, short too. But she sang some commendable neraval at ‘sarvatrAdi’ and few rounds of swaras. Couple of not often heard compositions came, one of Vadiraja set in neelambari. Nice little kriti seeped in bhakti. Not sure who set this to tune, but was a few imperfections at places. Another short alapana of hindolam, which was good.

Pruvikalyani was the main and it was obvious that the choice is going to be mAnava janma. The alapana was detailed and very well constructed and sung. Srinidhi was also chipped in with some nice work. There was no neraval, but the swaras were done in elaborated ,two speed presentation. Young perussion team did a good job through out, played a commendable tani avartanam.

Lot more had to come post the main. Ugabhoga, a mundige, couple of shlokas ( one on Purandara Dasa).  True to her strength, they were all sung beautifully.

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Posted by on August 20, 2018 in Uncategorized


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Pavani Kashinath @ Nadasurabhi, Karnataka Vaibhava, 18 Aug 2018

Vocal : Pavani Kashinath

Violin : Anand Viswanathan

Mrudangam : Phanindra Bhaskara

Ghatam : S N Narayana Murthy


01 chalamEla ( varNam) – nATakurinji – Adi – Rangaswamy Nattuvanar

02 dEvi rAmE mAnavAbdhi tanayE –  vasanta – Adi – Mysore Vasudevacharya ( O,S )

03 marivErE gati – Ananda bhairavi – Mishra Chap – Shyama Shasthry

04 marivErE dikkevarayya – latAngi – Khanda Chap – PAtnam Subramanya Iyer ( A,S )

05 pariyAchakamA – vanaspati – Roopakam – Thyagaraja

06 shrI kAmakOTi pIThastHitE – sAvEri – Adi x 2 – Mysore Sadashiva Rao ( A,N,S,T )

neraval & swara @ kadambavana nilaye ambA kancalOcani

07.  …

The first concert of the Nadasurabhi ‘Karnataka Vaibhava Series’. Young Vidushi sang very well. Very good voice, ease of singing across the range stood out.  Very nice selection of kritis  ( though it did not adhere entirely to the theme of Karnataka Vaibhava, though) and appropriate deliberation for each. She will need to hone her skills. Some finesse is required, especially in her alapanas. I must add that as the concert progressed, she was more confident and was singing much better.

The support team chipped in very well. Anand played a nice Saveri alapana and some impressive swaras for Vasanta. Phanindra was very active. His playing at the start of the sAvEri kriti was awesome. He also played a brilliant tani avartanam. The starting phases were top class.

I had to miss the scholarly Ragam Tanam Pallavi that followed after this concert by Vid. Amrutha Venkatesh.

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Posted by on August 19, 2018 in Uncategorized


Vivek Sadashivam @ Pranava Fine Arts, 14 July 2018

Vocal : Vivek Sadashivam

Violin : Aniruddha Bharadwaj

Mrudangam : Trichy G Aravindh

Ghatam : B S Raghunandan


01 chalamElA ( varNam) – nAtakurinji – Adi – Rangaswamy Nattuvanar  ( O )

02 dEva dEva kalayAmi – mAyAmALavagauLa -Roopakam – Swathi Thirunal ( A,N,S )

neraval & Swara @ ‘jAtarUpa nibhacElA janmArcitam mamakhila’

03 brOva bhAramA -bahudhAri – Adi – Thyagaraja ( A,S )

04 vElum mayilumE – sucharithra – Roopakam – Koteeswara Iyer ( A-vocal)

05 rAma rAma rAma rAma, rAma ennirO – vasanta – Adi, tisra naDai – Purandara Dasa

06 akSayalinga vibhO – shankarAbharanam – mishra chAp –  Dikshitar ( A,N,S,T )

neraval & swara @ ‘ badarI vanamula nAyikA sahita’

07 kaNDu dhanyanAdE uDupi krSNanA – behAg – Roopakam – Kamalesha Vittala

08 shLOkam ( nama:shivabhyAm nava yauvanAbhyAm) – sindhubhauravi

chandrashEkharA eeshA – sindhubhairavi – Anai Vaidyanatha Iyer

09 muddugArE yashOdA – kurinji – Adi – Annamacharya

10 tum bin mOri kaun khabar lE – mIrAbhajan

11 thillAna ( udana tadana tara dhIm ) – kAnaDa – Muthaiah Bhagavathar

12 thirupugazh ( kADi mODi vAdADu) – shankarAbharaNam – Arunagirinathar

13 mangaLam – saurAStram – Thyagaraja

Extremely pleasing concert by the young vidvans last evening at Sri Thyagarajan’s residence, under the Pranava Fine Arts. Heard his name during the initial ‘kalavanta’ days and a couple of his concerts in FM Amrutavarshini, made sure I attended this concert. The team put forward a commendable display with some top class music.

He started off with a brisk varnam, and gained momentum through the concert to an ever increasing audience as it progresses.  A detailed Mayamalavagaula of Swathi Thirunal, set the stage for all of them to come together on the stage. Less than a month back, few of us sat together with Vid. Tadeppalli Lokanatha Sharma , where he demonstrated this kriti in a fresh appealing approach.  Vivek, presented the Semmangudi format of the kriti, but I liked his nice little drift ( if I may say so) at the second ‘dEva’ ( that brought the memory of Sri Lokanatha Sharma’s discussion). Brilliant neraval at jAtarUpa and a fitting swaraprasthana, amply supported by the other artists.

The bahudhAri alapana was the best for me, Aniruddh was fabulous. Loved the initial few phrases he played. Brova bhArama as expected ( I am hoping some one will take sadAnanda tANDavam more often).  Aside:  ‘bAramA’ and ‘ragurAma’ aren’t appealing. Why can’t they sing bhArama and raghurAma with appropriate stress on the syllable. Kalpana swaras for bahudhAri again was super, with some nice patterns and clever shifts.

Two short fillers, one probably was a request, as the chit was seen being passed to him. He sang a short sucharitra alapana, and continued with vElum mayilumE without a violin response.

Grand shankarabharanam for the evening. He sang the typical alapana with good control and measure. Impressive passages, nice shift between octaves, longish ‘akara’ at higher registers. Everything was done with remarkable elan. Aniruddh played a much restrained alapana , I thought.  I did get the sense of akshayalinga vibhO, and I wasn’t wrong.  The kriti singing was ok, did not live upto the alapana he sang. But, he redeemed himself with another good neraval and the swaras in two speed, that followed. Percussion team played an active role in the evening and Aravindh was excellent through out. The duo played an elaborate tani avartanam.

As the audience voted for ‘thukkadas’ over a pallavi, there was a chain of short pieces to follow. He mixed them well, and some nice selection, which started with a nice little alapana of behag ( by both) before ‘kaNDu dhanyanAdE’. A shlOkam, a meerabhajan , a thillAna and thirupugazh before mangalam, says his impressive array of selection.

Very impressive concert by the young artists and wishing them all the success.

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Posted by on July 15, 2018 in Uncategorized


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