Tag Archives: Nadasurabhi

Amritha Murali at Nadasurabhi, 17th June 2018

Vocal : Vid. Amritha Murali

Violin : H M Smitha

Mrudangam : B C Manjunath

Ghatam: S N Narayana Murthy


01 shLOkam ( sadguru gajasyavANim)

pankajAkSi nI pai (varNam) – kAmbOji – Adi – Ramaswami Sivan

02 rAmA ninnE nammi nAnu – husEni – Adi – Thyagaraja  ( O,S )

03 tyAgarAjAya namastE – bEgaDa – Roopakam – Dikshitar ( A,S )

04 vihara mAnasa rAmE – kApi – Mishra Chap – Swathi Thirunal ( A,N,S )

neraval & swara @ ‘karuNArasa nilayE sarasIruha nAbhE ‘

05 mAyamma yaninE – Ahiri – Adi x 2 – Shyama Shasthri

06 venkaTaramaNanE bArO – paras – Adi – Purandara Dasa

07 RTP – thODi – mishra jhumpa , 2 kaLai , + 3 akSaram eDuppu

pallavi line : ‘shankaram lOkashankaram bhakta vashankaram, sadA bhajE shiva-‘

rAgamAlika swaras in malayamArutam, khamAs, amrutavarSiNi

tani Avartanam

08 hari chitt satya – jOnpuri – Mishra chAp – Purandara Dasa

09 shLOkam ( kastUri tilakam) – behAg, sindhubhairavi, bhAgEshrI

sAgara shayana vibhO – bhAgEshrI – Adi x 2 – MDR

10 thillAna ( ni ri ni ri ga ma ga ri sa ) – pUrvi – T Vaidyanatha Bhagavathar

11 mangaLam – saurAStram / madhyamAvati – Thyagaraja


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Posted by on July 15, 2018 in Uncategorized


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Sandeep Narayan @ Nadasurabhi , 18th March 2018

Vocal :  Sandeep Narayan

Violin : Mathur Srinidhi

Mrudangam : K U Jayachandra Rao

Ghatam : G Omkar Rao


01 mahA gaNapatE pAlayAshumAm – naTanArAyaNi – Adi – Dikshitar

02 nAda tanumanisham – cittaranjani – Adi – Thyagaraja ( A,S )

03 saundararAjam AshrayE – brindAvana sAranga – rUpakam – Dikshitar ( A )

04 kAdiruvEnu nAnu – ranjani – Adi -Ambujam Krishna ( A,N )

neraval @ ‘pAdAmbujagaLa pUjeya mADi ‘

05 mahAlakSmi jaganmAtA – shankarAbharaNam – mishra chAp -Papanasam Sivan ( A,S,T )

06 ninnayE ratiyenru – bhAgEshrI – rUpakam – Subramanya Bharati (  O )

07 mayilmIdu viraindODi – cArukEshi – Adi – ??  ( o )

08 candrashEkharA Isha sundarEshvara – sindhu bhairavi – Adi – Anai Vaidyanatha Iyer ( O )

09 thillAna ( tAm tAm tAm udani ) – khamAs – Patnam Subramanya Iyer ( O )

10 mangaLam – saurASTran – Thyagaraja

Brilliant concert by the young vidvan yesterday at Nadasurabhi.  He sang with such an elan, composed and in control.  Despite some of his mannerism and singing style which regularly reminded us about his guru, he was on a roll.

Very sedate start with the natanarayani piece, which has a folkish tune to it, was a great way to get in.  Both on the pallavi line and the ‘ragamudra’ line, he sang ample sangatis, which I liked.  Chittaranjani alapana was top class. Gave the hint by singing the ‘sarigamapadhani’ phrase of the composition in his alapana. Not heard many chittaranjani full alapana in concerts, hence it indeed was welcome. Other impressive of his singing ‘nAda tanumanisham’ was at the anupallavi.  He sang with the break at ‘mOdakara nigamOttama’ unlike ‘ nigamOttama sAma’ as many artists sing. Very good. Some good rounds of kalpana swaras followed at the pallavi line. The concluding round by both the artists, I thought, were superb.

A fabulous brindavana saranga alapana started soon. Surprised to see two janya of kharaharapriya back to back. Of course, they have different feel and musical beauty. Brindavana sarang alapana was mesmerising . Srinidhi was equally aswesome in his turn. Full marks. The composition was sung with all it grandeur. To me, this was the best part of the concert.

A rather shortish ranjani alapana followed ; decent with some of the standard phrases. Srinidhi tried some innovative strokes. Amubjam Krishna’s composition was nice.  HE sang a compelling neraval at pAdAmbujagaLa pUjeya mADi’ with some nice twists and turns. Good work here. There was no swaras.

Soon, a detailed shankarabharanam alapana started. The way it was progressing, it was evident that he is not taking up some of the well known compositions. Very good effort in alapana, little to and fro, odd phrases of class, some impressive longer phrased upper octaves. Srinidhi played much more standard shankarabharanam. Mahalakshmi Jaganmata was a nice choice , even though I was expecting a Shyama Shastry composition to come. There was no neraval ;surprising on two counts a) There was only one neraval in the entire concert b) he did not sing a pallavi.  Kalpana swarams are mostly done as two long takes, one at the lower speed and one the shorter phrases at the faster tempo. The repeats from Srinidhi was equally eloquent. Jayachandra Rao, who did a commendable job through out the evening, played a structurally intricate tani avartanam with Omkar.

There was no pallavi, but sang couple of songs and a requested thillana. He sang all of them after a short raga sketch. Some good team play, triggered by the vocalist in the khamas thillana was nice change.

His powerful voice, open throat style of singing, command over lyrics and laya etc are the highlights of his singing. Yesterday’s concert was no different. Hope to see and listen to him more in Bangalore.


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Posted by on March 19, 2018 in Uncategorized


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Tanmayee Krishnamurthy , Prabhata Sangeetham @ Nadasurabhi 31 Dec 2017

Vocal : Tanmayee Krishnamurthy

No Accompanyments..

List :

01 shrI gaNEsha sharaNam – tilang – Papanasam Sivan

02 shrI pArvati paramEshvarau vandE – bhauLi – Dikshitar

03 brOva bhArama – bahudhAri – Thyagaraja ( O,S )

04 nagumOmu galanEni – AbhEri – Thyagaraja  ( A,S )

05 shLOkam ( manOjavam mAruta tulya vEgam) – AbhEri??, sahAna

rAmachandruDitaDu raghuvIruDu – sahAna – Annamacharya

06 irakkam varAmal – behAg – Gopakakrishna Bharati

07 pAlincu kAmAkSi – madhyamAvati – Shyama Shasthry

08 ugAbhOga ( mrgagaLa meyyalli bhaktuLa kastUri?? ) – dEsh

kula kula kulavennutiharu – dEsh – Kanaka Dasa

09 ninyAkO ninna hangyAkO ranga – karNaranjani – Purandara Dasa

10 bArO krSNayya – rAgamAlika – Vyasaraya

11 tambUri mITTitava – sindhubhairavi – Purandara Dasa

12 mangaLam – saurAStram – Thyagaraja

Music san noise is always pleasure, especially an early morning session in a close settings. It indeed is a challenge for the artist to perform with only tanpura to support. The short comings of the vocal issues will be out in the open , not hidden by the violin. Also, it is difficult to engage the audience for a longer period with out a percussion to add to the effect. There is also the issue of voice being ready for an early cold morning concert. But, Vidushi Tanmayee Krishnamurthy overcome all those inhibitions with a classy concert on the last morning of the year.

I liked the way she planned the morning. Eased through the early part, spent a lot of time of Shlokam/ugabhoga , spread the morning thtough various composers, mixed it up well and added her bit with two well done kalpana swaras. She, probably could have skipped the ‘pAlincu kAmAkSi’ after the listerner’s choice was in favour of the earlier abhEri. A couple of slips at the lyrics was the only miss in the whole day. She can also look at some of the word stresses in future ( bAramA/ bhAramA , ghalanEni/galanEni, dhootam/dootam etc).

Impressive voice, presentation and manodharmam. Both bahudhari and abheri kalpana swaras were very good, so was the short alapana of abheri. Finally, a grand way to end another musical year for me.

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Posted by on December 31, 2017 in Uncategorized


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Sunil Gargyan @ Nadasurabhi, 17 Dec 2017

Vocal : Sunil Gargyan

Violin : M P Aditya

Mrudangam : Anoor Vinod Shyam

Ganjira : Sunaad Anoor


01 evari bOdhana (varNam) – AbhOgi – Adi -Patnam Subramanya Iyer

02 vaiyatul vAzhvigal (tirupAvai) –  gauLa – Andal

03 lOka bharitanO krSNA – bEgaDa – rUpakam – Vadiraja  ( A,S )

04 bhajarE rE mAnasA – AbhEri – Adi -Mysore Vasudevachar

05 mAmava mInAkSi – varALi – mishra chAp – Dikshitar ( A,N,S )

neraval & Swaras @ ‘shyAmE shankari digvijaya pratApini’

06 ninnADa nEla – kannaDa – Adi – Thyagaraja ( S )

07 inta sowkhya mani nE – kApi – Adi x 2 – Thyagaraja ( A,N,S,T )

neraval & swara @ svara rAga laya sudharasa manDu’

08 ugabhOga ( baDavaroLage ) – hamsAnandi,behAg?, sindhubhairavi, brindAvana sArang

kaNDEnA uDupiya krSNana – brindAvana sAranga – Purandara Dasa

09 thillAna ( tAm tAm tAm udani tOm) – khamAs – Patnam Subramanya Iyer

10 mangaLam – saurAStram – Thyagaraja

shLOkam ( mangaLam kOsalEndrAya) – madhyamAvati

The youngsters presented a brilliant concert yesterday at Nadasurabhi. Very pleasing to see young musicians coming up with some commendable performance. Sunil Gargyan has been in the watch out list for me for last couple of years and this is the first time, I am getting to see him performing live. He indeed made a good first impression. Very compelling , with no unwanted exuberance , no overtly attempt to impress with what he has learned so far, no over reliance on speed. He will go places.

After the brisk varnam, he sang the second tirupavai ( apparently it was the second day of Margazhi) before a good begada alapana.Violin struggled a bit to getin line with the procedings,and his begada wasn’t all that appealing. As one was waiting for vallabha nayakasya to follow, the young vidvan surprised us with a Vadiraja composition ‘lOka bharitanO’. Few round of swaras accompanied.

Varali alapana was detailed and demonstrated some of his capabilities. Very impressive. Dikshitar’s mAmava mInAkSi with a sturdy neraval and swara at shyAme shankari was done very well. Changed the speed with a kannaDa and some quick fire swaras, with some brilliant percussion support. It was time to serve kApi, well done. Nice neraval, detailed swaras in the first speed and rather short one in second speed.

Percussion team should get an extra applause. Vinod Shyam and Sunad were brilliant. Good anticipation, apt improvisation, appropriate fillers and the duo improved the overall concert experience with their involvement. Aditya took time to settle on his part.

Beautiful ugabhoga ( the young man should be given credit for such wonderful selection of compositions) was the highlight of the post main section.

A very well planned ( the selection of compositions and ragams) and presented concert, the way he paced his concert, the on-stage interactions ; I think he has impressed me.

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Posted by on December 18, 2017 in Uncategorized


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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


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.


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.

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Posted by on November 6, 2017 in Uncategorized


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