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O S Thyagarajan @ Nadasurabhi 15th Oct 2017

Vocal : O S Thyagarajan

Violin : Vittala Rangan

Mrudangam : Anoor Ananthakrishna Sharma

Ghatam : Giridhar Udupa

List :

01. erA nApai ( varNam) – thODi – Adi -Patnam Subramanya Iyer ( O )

02. nI bhakti bhAgyasudhA – jayamanOhari – rUpakam -Thyagaraja ( S )

03. sundara tara dEham – pantuvarALi – Adi – Thyagaraja ( N,S )

neraval & swara @ ‘rAgAdi samhAram rAghavam udAram’

04. sanAtana paramapAvana – phalamanjari – Adi – Thyagaraja

05. rAma daivamA – surutti – Roopakam – Thyagaraja ( A,S )

06. amma rAvamma tuLasamma – kalyANi – khaNDachAp – Thyagaraja ( N,S )

neraval & swara @ ‘tAmarasa daLanEtru tyAgarAjuni mitru’

07. ETi janmamidihA – varALi – mishra chAp – Thyagaraja

08. chakkanirAja mArgamu – kharaharapriya – Adi x 2 – Thyagaraja  ( A,N,S,T )

neraval & swara @ ‘ kaNTiki sundarataramaku rUpamE ‘

09. lAli yugavE -nIlAmbari – Thyagaraja (  O )

10. mangaLam – saurAStram – Thyagaraja

Vid OST’s concert have some staple ingredients. These days, they are largely limited to Thyagaraja compositions. He has a sense of measure to his singing. The alapana, neravals and kalpana swaras each of them takes a set pattern, they are apt and appropriate quantities. Which is why I like to attend his concerts. One comes back home with a sense of experiencing the essentials of carnatic music.

Sunday’s concert was also rich in the selection of ragas and kritis. While he mentioned in the middle of the concert that this is going to be an all Thyagaraja composition concert, relating his name and the residence number to the great composer, on a lighter note. However, his selection of kritis and the elaborations were very impressive. We were talking about surutti , the same after noon, and about its disappearance from concert these days and here comes a majestic alapana. Fablous neravals for pantuvarali ( as I always mention, an early pantuvarali neraval and swara can definitely lift the concert), nice selection of jayamanohari and phalamanjari in the middle, grand surutti piece before a surprise kalyani neraval and swaras ( I was happy there was no alapana for kalyani, but I can always manage to sit through kalyani kriti and neravals) were very good.

One should talk about the accompanying artist here. In most of the times it is they who make or break the concert to the audience. From the start it was evident that there is great synergy on stage. Vid Anoor Ananthakrishna Sharma, played delectably through out the evening, supported outstandingly by Udupa. Vittalarangan was on his elements, while following and in his turns. They made the difference in the evening.

Kharaharapriya alapana was very elaborate and good with some interesting phrases and a classy wind up at lower octave. I was hoping for ‘ni samanamevvaru’ but it had to be ‘chakkani raja margamu’. One does not get tired of listening to it again and again. Majestic neraval at ‘kantiki sundara’, detailed swaraprasthana in two speeds etc followed as expected. Percussion team played an excellent tani avratanam. There was no ‘banging’ the instrument, no gesticulation, no unwanted exhilaration, but delectable rhythmic poetry of instruments. I loved some of the ghatam returns.

There was nothing left to do post the main as he had spent enough time through the concert on larger pieces. The concert was soon wound up with a nilambari kriti and mangalam.

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Posted by on October 17, 2017 in Uncategorized

 

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Saketharaman @ Nadasurabhi , 17th Sept 2017 – Lalgudi Jayaraman Remembrance Day Concert

Vocal : Saketharaman

Violin : Apoorva Krishna

Mrudangam : Sai Giridhar

Ghatam : G Omkar Rao

Theme : Lalgudi Jayaraman Remembrance Day

List:

01 senthil nagar mEvum dEvA ( varNam) – nIlAmbari – Adi – Lalgudi Jayaraman ( O)

02 Isha pAhimAm – kalyANi – rUpakam – Thyagaraja ( O,S )

03 ADmODi galadA – cArukEshi – Adi -Thyagaraja ( A,S )

04 kanDE kanDE kanDE namma – varamu – Adi – Purandara Dasa

05 pAlincu kAmAkSi – madhyamAvati – Adi x 2 –  Shyama Shasthri ( A,N,T )

neraval @ kAntamagu pErukoNDidivi kAruNyamUrti

06 kaNNanai kANbadeppO – rAgamAlika – ??

07 jatiswaram ( dhA pa ga ma ri sa ) – sindhu bhairavi/ swarabhedam to ??, behag,mohanakalyani,tilang – Adi tishra naDai – Lalgudi  Jayaraman

08 kaNDEnA gOvindana – chandrakauns ? – Purandara Dasa

09 thillAna ( dhIm tadara dhIm tada) – pahADi – Lalgudi Jayaraman

10 mangaLam – saurAStram / madhyamAvati – Thyagaraja

shLOkam ( mangaLam kOsalEndrAya) – madhyamAvati

Special concert on the 87th birthday of Shri Lalgudi Jayaraman by one of his prime disciple yesterday at Nadasurabhi.  True to the day and theme, Saketharaman presented the concert including a few of the composers kritis as well as a few popularised by him.

Saketharaman sang in his typical style. Full of energy and speed. He marveled at the high speed swara singing. Unfortunately, both his alapanas were also in the same vein, as longer fast paced phrases.  While they were interesting and had some excellent passages for both charukeshi and madhyamavati, the beauty and essence of his efforts would have made more appealing impact with a reduced speed. Apoorva on her turn did exactly that. She started in such a mellifluous way, unhurried through slow and measured phrases in the early stages of her alapana. She was very impressive through out the evening. Sai Giridhar, seeing for the first time, also made a lasting impact. The tani avartanam was brilliant.

There was a elaborate neraval( and only one for the evening) for madhyamavati, excellently done. Surprised, when he decided to skip the kalpana swaras. I thought, he had plans for a pallavi for the evening, which did not come. Considering the concert was for a little over 2:30 hrs, it wasn’t time pressure. Not sure, what was the intention behind it.

Post main had an interesting jatiswara composed by the legendary musician. The clever swarabheda from sindhubhairavi was nice.  A Pahadi thillana concluded the concert.

 
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Posted by on September 18, 2017 in Uncategorized

 

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Harini & Sharada , Karnataka Vaibhava @ Nadasurabhi 20th Aug 2017

Vocal : Bangalore Sisters ( Harini & Sharada)

Violin : Nalina Mohan

Mrudangam : B R Srinivas

Ghatam : Srishylan

Thematic Concert on Mysore/Karnataka Composers

01. shLOkam ( Om nama: praNavArthAya)

mAtE malayadhwaja ( daru varNam) – khamAs – Adi-Muthaiah Bhagavathar

02 shrI mahAgaNapatim bhajEham – aThANa – Adi-Jayachamarajendra Wodeyar ( A,S )

03. gangAdhara tripurahara – pUrvikalyANi –  Roopakam – Mysore Sadashiva Rao ( A,N,S )

neraval & swara @ ‘ahi bhUSaNa amaravana aja sannuta badarIvana’

04. ikO namma swAmi – maNirang – mishra chAp – Purandara Dasa ( O )

05. sadA sAranga nayanE – ranjani – Adi – Yoga Narasimham ( A )

06. mari mari vacunA – kAmbOji – Adi x 2 – Mysore Vasudevachar ( A,N,S,T )

neraval & swara @ ‘rAmuni mahima nEn Emani pogaDudu’

07. karEdarE barabAradE guruvE – janasammOdini? – Adi – Kamalesha Vittala

08. bArO namma managE – vasanta – Purandara Dasa

09. thillAna ( nAdru dru dhIm takaNu dhIm ) – chandrakauns ? – Anoor Ananthakrishna Sharma

10. mangaLam – saurAStram/ madhyamAvati – Thyagaraja

Another one of a meticulously planned concert in the ‘Karnataka Vaibhava’ series at Nadasurabhi. What is heartening to see is the freshness in the selection of compositions, instead of singing the ‘safe’ kritis.

To me the high point of the concert was the pUrvikalyani kriti. Sadhashiva Rao’s master piece was sung wonderfully. The neraval was classy, the kalpana swaras that followed were superbly done. Kamboji main, for the second day in succession, this time with a different take. Mari mari vacuna is not heard these days, apart from Malladi Bros. There was again detailed neraval and swaras here.

Yoga Narasimham’s ranjani composition and the thillana of mrudangam maestro Anoor Ananthakrishna Sharma were new to me. What was again impressive to listen and watch was the way B R Srinivas accompanied the main artists. He, I thought, had a wonderful performance. Nalina Mohan was in her usual self, however her return alapana’s were shortish for most of the ragas.

This is a great initiative from Nadasurabhi and I observed they bring new artists each year , presenting newer compositions as a result.

 
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Posted by on August 21, 2017 in Uncategorized

 

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Dilip Simha & A K Jagdish @ Karnataka Vaibhava , Nadasurabhi – 19 Aug 2017

Vocal Duet : A Dilip Simha & A K Jagdish

Violin : R Achyutha Rao

Mrudangam : Adamya Ramanand

Ganjira : Anil Parashara

Thematic Concert on the Compositions of Harikeshanallur Muthaiah Bhagavathar

List:

01. mana mOhana (varNam) – mOhanam – aTa

02. durgAdEvi duritanivAriNi – navarasa kannaDa – Adi

03. lambOdara sOdara – kalyANi – sankIrNa chApu  ( A,N,S )

neraval & swara @ ‘ nA kOrina varamunu nosagi nannubrOvumu’

04. vancatOnunA – karNaranjani – Adi tishra gati  ( A )

05. mAnamu kAvalenu talli – sahAna – Roopakam ( A,S )

06. sharavaNa bhava – pashupatipriya – Adi

07. shivam haram sAmbam bhaja manasA – kAmbOji – Adi x 2 ( A,N,S,T )

neraval & swara @ ‘ shivam haram sAmbam bhaja manasA – sadA’

08. ANDavan darishanamE – jOnpuri – Adi

09. dhIm tAre nArE nArE ( thillAna ) – hamsAnandi

10.  shLOkam ( swasthi prajabhyA..) – madhyamAvati

Rain and flood affected Koramangala made it difficult for us to attend the concert. But I always like thematic concerts for one, it give a direction to the artists and audience and secondly, gets some of the not often heard gems are brought out of oblivion. However, it has to precede a clever planning and intelligence from the artists.

Muthaiah Bhagavathar, to be is one of the best ( if not the best) composers of the 20th century and has produced a vast number of compositions in various languages, complex tala structure and have credited with compositions in ragas created by him. True to the spirit of the evening, the artists should be given credit in choosing to sing the compositions in all the four languages and a variety of tala with a few popular and a few not often heard kritis.

It took a while for the duo to get into the groove. Initial pieces, where they had to sing together was a bit patchy. There were occasional slips later too. However, the pieces where they had to sing independently ( alapana , neraval and swaras) it was much better. The larger pieces were very good. As KSSR mentioned in his remark, the team excelled in neravals. Both Kalyani and Kamboji neravals were top class. The kalpana swaras were also very good.

The pick of the evening was the main kamboji kriti. Very rarely heard in concert, a gem in kamboji. Very aptly chosen pallavi line for neraval, the sangatis that followed in the anu pallavi and the eduppu.. this is a fabulous composition and the artists did a fantastic job here. Percussion support was vey good. Adamya is a seasoned artist and it is good to see him growing in stature as a matured artist. Anil Parashara was brilliant too.

 
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Posted by on August 20, 2017 in Uncategorized

 

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Padma Sugavanam @ Nadasurabhi , 19th Mar 2017

Vocal : Padma Sugavanam

Violin : Mathur Srinidhi

Mrudangam : R S R Srikanth

Ganjira : A S N Murthy

List:

01  ??sarasijanAbha (varNAm) – ??mAyAmALavagauLa – Swathi Thirunal

(reached towards the end, I could be wrong)

02 shrI mahAgaNapatE shrI vallabhApatE – AbhOgi – N S Ramachandran ( N,S )

neraval & swara @ ‘tAmarasa daLanEtra tAmasa timira nEtra’

03  vENugAna lOluni – kEdAragauLa – Thyagaraja ( A )

04  EdayyA gati – chalanAta – Koteeswara Iyer

05 ninnE nammitinayya – simhEndramadhyamam – Mysore Vasudevachar ( A,N,S )

neraval & swara @ ‘pannagEndra shayanA, pannagAri vAhana’

06  shrIkanta nIyada – bhavapriya – Thyagaraja

07 RTP – hamsavinOdini – chaturashra triputa x 2 kaLai , +1 ( 2 akSara) eduppu

pallavi line ‘ nigama sudhA vinOdini, nIrajadaLa lOcani sadA-‘

rAgamAlika swaras in ‘ varALi , sAma, sAvEri, pUrvikalyAni’

07b. tani Avartanam

08 mOsa jEsEnE (jAvaLi) – sindhubhairavi – ??  ( O )

09  mareya bEDa manavE – behAg – Purandara Dasa (O )

10 mangaLam – saurAStram – Thyagaraja

I missed her concert a couple weeks ago at Pranava Arts. When the announcement of change of the main artist came from the organisers, I decided to make a point to attend.  Listening to her for the first time. I reached the venue as she was concluding the varnam.

What I found interesting is her selection of ragas and the compositions. Nice mix of composers, tala and tempo. Another impressive attempt with hamsavinodini as pallavi. I also found her grip on laya impeccable, especially during kalpana swaras where she did some fabulous stuff. The concert itself had a slow start, the spice was missing initially. It was from the simhendramadhyamam onward the concert elevated to the top gear. It was brilliant from there.

She sang a nice neraval for Abhogi kriti and had some elaborate swara patterns to end, giving us the glimpses of what is her mettle, the next couple of the songs weren’t great. Kedaragaula alapana wasn’t anything to write home about. Even the kriti did not really move me, despite being one of my favourite.

Simhendramadhyamam alapana was longer, lot of fast bhriga laden phrases to some good effect. I liked them, but some of the upper octave takes weren’t very pleasing. All my cribs end here. The kriti, classy neraval at pannagendra shayana, and the brilliant kalpana swaras that followed were the high point of the evening. I think, it was here, the rest of the artists on stage jelled together and found cohesiveness. She did some tremendous swara patterns here, with some improved percussion support.

By now, the change was visible, more at ease and confident. A energetic bhavapriya was sung before the main. A pallavi was in the offing, but hamsavinodini wasn’t one expected. Balamuralikrishna’s famous pallavi was the reference and she did announce that the pallavi was indeed composed by the legendary artist, with very clever padakSara usage. Tow phase alapana was very good. Tanam was even better. Pallavi neraval was good with very well executed trikalam. The percussion here ( and while following the violin) wasn’t upto the mark, as I found something amiss. Ragamalika swaras were good too, not sure if they too follow the ‘swarakSra’ pattern. I need to check.

Taniavartanam was very good. The percussion had their moments, they followed the singing pretty well except a few places. ASN Murthy produced some awesome music from the instrument. Srinidhi was the first to get into the groove, his alapana of kedaragaula and simhendramadhyamam were good, even though the volume output was low and was hardly audible against the high shruti sound.

Post main was again wasn’t great. A rarely heard javali and a customary ( sorry to say this) devarnama before mangalam. But, that has been my perennial complaint. I always liked artists who give some focus to this section of the concert.

Vid. Padma Sugavanam is having a busy month in Bangalore in March. I’m sure we will hear many more concerts of her in Bangalore in the months and years to come.

 
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Posted by on March 20, 2017 in Uncategorized

 

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