Tag Archives: Instrumental

V Murali, Nagaswaram @ Ranjani Fine Arts, 9 June 2018

Nagaswaram : V.Murali

Nagaswaram Support : K Chandrashekhar & M Durgesh

Thavil : Murugesh & P T Mani

Talam : S Murali


01 pagavAri bOdhana(varNam) – hamsadhwani – Adi -Patnam Subramanya Iyer ( O )

02 shrI mahAgaNapati ravatumAm – gauLa – Mishra Chap – Dikshitar ( O,S )

03 raghuvamsha sudhAmbudhi – kadanakutUhalam – Adi – Patnam Subramanya Iyer

04 O rAma nI nAma EmirucirA – pUrvikalyAni – Adi – Bhadrachala Ramadas ( A )

05 entarO mahAnubhAvulu – shrI – Adi – Thyagaraja ( O )

06 sAmaja vara gamanA – hindOLam – Adi – Thyagaraja ( A,S,T )

07  maguDi song ? – punnAgavarAli

08 tandanAna Ahi – bhauLi – Adi – Annamacharya

09 bhAgyAda lakSmi bAramma – madhyamAvati – Purandara Dasa

10 mangaLam – saurAStram – Thyagaraja


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Posted by on June 17, 2018 in Uncategorized


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Vidushi Kanyakumari @ Nadasurabhi Annual Festival , 3rd Nov 2017

Violin : Vid Kanyakumari

Violin Support : Vittala Rangan

Mrudangam : Anoor Ananthakrishna Sharma

Ganjira : Vyasa Vittala


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.

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Posted by on November 4, 2017 in Uncategorized


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Rajesh Vaidya , Veena @ ‘sruthimelanam’ , Vellinezhi 23rd Aug 2014

Veena : Rajesh Vaidya

Mrudangam : Umayalpuram Sivaraman

Ghatam : Dr S Karthick

Ganjira : B Shree Sundarkumar


01.  gajAnanayutam – vEgavAhini – Dikshitar ( O )

02. vAsudEvayani – kalyANi – Thyagaraja (A,S )

03. tani Avartanam

04. chandraSEkhara – sindhu bhairavi – ?

I do not know if I should put this up here. This cant be really called a concert. Hardly anything was played. More than half of the concert was tani avartanam. Nonetheless, this complete the three concert day at Sruthimelanam. Let it be here for whatever it is worth it.

The function felicitating one of the masters of Kerala percussion Sri Mattannur Shankarankutty ate into the concert time. No surprises here. I have gone through this umpteen times. No such function, especially if it involve ministers and other dignitaries involved ever conclude in stipulated time. The organisers managed the time extra ordinarily well until then probably had to let it go, considering the men on stage. This despite the start at 5:00 pm. Anyway, by the time the non musical functions concluded it was around 8:30.

The stage set for the concert soon, UKS took the mike and announced that this would be a one hour concert as they team has to travel back to Chennai. Luckily, he did not make another long speech. But, it took long to get the mike and amplification of all four instruments set to their desired level, each trying to outwit the other. Once, angrily UKS remarked until his volume is set properly, he is not going to play. Every other participants taking the mike and directing the ‘sound man’ in various language to increase the volume for UKS. It took another 20 mins before they finally set about the concert. UKS had earlier announced the kritis that could be expected from Rajesh Vaidya. It was thus clear that he is going to play only two kritis. I split the list into 4 to make it look decent, separating tani avartanam.

Vegavahini or chakravakam was played ok, adding a few rounds of swarams. UKS was at his elements, lifting the overall effect with his legendary fillers and some clever structural intricacies. The other two leading ‘upa-pakkavadyam’ artists by and large allowed the senior to take lead, playing very subtly through out.

Kalyani alapana was rather interesting. While it was clear that he wsa playing kalyani, one was figuring out what is that he is playing. At time, I thought he was doing some hindustany-ish alaap, at other times he was playing similar to tanam. The nontraditional alapana however did not last long. However, he played the kriti very well with some classy accompaniment from UKS. The swaras were interesting too. The percussion trio, lead by UKS played a long tani avartanam. UKS brilliant as expected and the rest matching to the senior allowing him to get his due credit and respect. Rajesh Vaidya played a quick sindhu bhairavi piece to conclude the concert, pack up , receive the honours from the organisers and leave. 25 mins of tani avartanam and 20 mins of veena playing in total.

This was a big disappointment after a mesmerising concert of AKC Natarajan earlier in the morning and a spellbinding ‘pANDi mELam’ by Peruvanam Kuttan Marar in the afternoon. It is unjust to blame the musicians, as they were ready and waiting for their time. Often these meetings gets extended eating into the musical time. Kathakali artists were readying themselves to take stage by 9:30, their stipulated time and for the rest of the night, until 6:30 am next morning, they enthralled the waiting audience, covering up for this disappointment.

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Posted by on August 27, 2014 in Concert songlist


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A K C Natarajan, Clarinet @ “Sruthimelanam” , Vellinezhi 23 Aug 2014

Clarinet : A K C Natarajan

Nadaswaram(support) : Tirupati Ramesh?

Thavil : Mannargudi Vasudeval

Thavil : Kovilur K G Kalyanasundaram

Song List:

01.  sidhi vinAyakam sEvEham – mOhanakalyaNi – Dikshitar ( S )

02.  kadalE vADu gAdE – nArAyaNagauLa – Thyagaraja

03.  challaga nAthO – vEgavAhini – Thyagaraja ( A,S )

04.  kripa jUcuTaku – chAyAtarangiNi – Thyagaraja (A )

05.  ennEramum un nAmam – pUrvikalyANi – Shyama Shasthri ( A,S,T )

06.  bhOgindra shAyinam – kuntaLa varALi – Swathi Thirunal

07.  ?? – sindhubhairavi – ?   ( A )

08. tirupugazh

Rain was lashing on the make shift structure in the small remote town , interior of Palakkad district. Late morning of a Saturday, veteran master of the wind instrument held the audience captive with a mesmerizing performance. He was supported onto the elevated stage by someone, seated him on a chair, while the rest of the crew sat on the stage around 11:00 in the morning. Initial few notes, of testing the system were very awkward the blowing sound was amplified and not the musical notes. All that was quickly evaporated. What followed since then was an outstanding fair of pure melody and classicism.

Rain continued its dance on the tin roof, but no body knew. He catapulted into ‘sidhi vinayakam’ with no other preparatory attempts, no varnam no playing a few sketches of raga or testing the rest of the system. Nudged his able deputy who was on a shortish nadaswaram to join him. Played few rounds of swaras, starting a single note at a time, stretching to a phrase and into an avalanche to conclude. The deputy shadowing the master.

Kadale vadu was a surprise. Narayana gaula itself is rather rare these days, and probably after Chittoor Subramanya Pillai not many have sung this effectively. Keerthi was mentioning about the Vegavahini kriti of Thyagaraja, which he had heard AKC play. He might have read our minds, and started the alapana of vegavahini. Splending alapana was followed with the kriti we were talking ‘challaga natho’. Another cracking swara prasthana followed. A short alapana and chayatarangini kriti came in as a filler before the main.

A classy purvikalyani alapana came in deliberate detailed exposition joined by the nadaswaram vidwan. Shyama Shasthri’s tamil kriti was grand in presentation adorned with some splendid kalpana swaras. Two champion percussion team on thavil, played out a spirited tani avartanam , spellbinding the listeners who acknowledged the effort with a thunderous applause.

Swathi Thirunal’s kuntalavarali kriti and a beautiful sindhubhairavi piece constituted the post main, the later started after a short little alapana. A fast paced tirupugazh concluded the concert. An outstanding concert by the senior vidwan.

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Posted by on August 26, 2014 in Concert songlist


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Pallavur Krishnan Kutty , Kurumkuzhal at “Sruthimelanam”, Vellinezhi 23rd Aug 2014

Kurumkuzhal – Pallavur Krishnankutty

Violin – Kodunthirappalli Subbaraman

Mrudangam – Kallekulangara Unnikrishnan

Morsing – Nadalaya Gopi


01.  sAmi ninnE (varNam) – SrI – Karur Devudu Iyer  ( O )

02.  SrI mahAgaNapatE – nAta – Dikshitar ( A,S )

03.  jAlandhara – valachi – Muthaiah Bhagavathar ( A,S )

04.  SrI saraswathi namOstutE – Arabhi – Dikshitar ( A )

05.  nannu pAlimpa – mOhanam – Thyagaraja ( A )

06.  rAma nAmamE tudi manamE – dEsh – Tanjavur Sankara Iyer

07.  enna tavam seydanE – kApi – Papanasam Sivan

Kurumkuzhal , a short wind instrument is an integral part of the percussion ensemble for ‘mELam’. While the ‘Chenda’ hold the centre stage, it is the kurumkuzhal that gives the melodic touch to the ‘mElam’. A group of ‘kurumkuzhal vidwans’ swaying front and back, bending down visually changing the and signalling the changes in the proceeding. The melodic interludes are immensely entertaining among the rhythmic high decibel beats of ‘chenda’ and ‘elathalam-cymbals’.  Resembling the look of ‘shehnai’ of North Indian Music tradition, this short instrument extends its possibilities beyond the ‘melam’ scene as we can see here. Few artists, skillful enough to make it to the center stage of a concert performance have been doing a few performance around Kerala for a while now. I haven’t had a chance to listen or watch a performance until now.

At the outset, this sounds similar to ‘nadaswaram’ but much sharper ( almost to the level of shrill voice – most likely due to the improper amplification settings) tonal quality. The miniature model of nadaswaram, thus have the ‘finger holes’ closer to each other which could be one of the reasons of the higher pitched sound. That however did not appear as a limitation to the artist or us the listener. While it is understood that each instrument has its own set of possibilities and limitations and the clever artist explore the raga and kritis which can be played in his or her instrument of expertise. Vidwan Pallavur Krishnankutty is one of the exponent of this instrument and have given a stellar performance on a Saturday morning.

A short concert lasting slightly over an hour started off with the Sriraga varnam. A short Nata alapana preceded the ganesha kriti, which was added with a few rounds of swara. A beautiful valachi alapana was a little more detailed and probably was the best of the morning. The violin accompaniment , played very well through out the concert, played a good alapana on his part too. Jalandhara, probably was the only choice and was done beautifully including some nice sets of kalpana swaras. A good short alapana of Arabhi followed soon with Sri Saraswathi namostute of Dikshitar. Mohanam was to be the main with another long detailed alapana. It wasn’t as impressive as the valachi, decent nonetheless.

Being a short concert and the next performance to follow, there was no tani avartanam. The percussion artist did support the proceedings adequately. However, I personally think, that for ‘kurumkuzhal’ like in the case of clarinet and nadaswaram, ‘thavil’ could have been the ideal choice of percussion. A Desh kriti followed and as he was planning to conclude, the organisers gestured him to continue for a while as the ‘clarinet Maestro A K C Natarajan was preparing himself for the next concert.  So, he continues with a beautiful kapi alapana and ennatavam before closing the affair.

I cant comment on the merits and demerits of this instrument in the carnatic concert. But in the able hands, with skill and knowledge, any instruments can achieve great heights. I am impressed with the way he played. Probably a full length concert would have made a greater impact.

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Posted by on August 25, 2014 in Concert songlist


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