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T M Krishna @ Odukathur Mutt, 04 Sep 2015

Vocal : T M Krishna

Violin : R K Sriram Kumar

Mrudangam : Manoj Siva

Ganjira : Anirudh Athreya

Song list :

01. kanakashaila vihAriNi – punnAgavarALi – Shyama Shasthri ( A,N,S )

niraval & svara @ ‘ shyAmaLAmbikE bhavAbhdhi taraNE, shyAmakrSNa paripAlini janani

02 krSNA nI bEganE bArO – yamunA kalyANi – Vyasaraya ( A )   – entirely played by RK Sriramkumar

03 tAnam – yamunAkalyANi

adi nIpai maruLu konnadIrA (jAvaLi) – yamunAkalyANi – Dharmapuri Subbarayer ( S )

04 tuLasI bilva –  kEdAragauLa – Thyagaraja ( A,N,S )

niraval @ ‘uramuna mukhamuna shiramuna bhujamuna’

swara 1 @ ‘ paramAnandamutO’

swara 2 @ ‘ tuLasI bilva’

05 mAyE tvam yAhi – tarangiNi – Dikshitar ( A,N,S )

niraval & Swara @ ‘ samudAyE guruguhOdayE sudhAtarangiNi antarangiNi ‘

06 tani Avartanam – mishrachApu

nidhi chAla sukhamA – kalyANi – Thyagaraja ( N )

niraval @ ‘ sumatI tyAgarAjanutuni kIrtanai sukhamA’

07 rAgamAlika Alapana in bilahari, bhairai, sAma & vasanta

sutRum vizhi chuDar – rAgamAlika ( bilahari,bhairavi,sAma, vasanta) – Subramanya Bharati

08 lEkanA nannu – asAvEri – Thyagaraja

09 shLOkam ( mangaLam kOsalEndrAya ) – rAgamAlika starting at asAvEri and a flurry of them.

Wonderful wonderful concert. I missed the first two. Thats all he need to do. Less of talk and more and more of such concerts. Every one of them is a gem. Every piece he sang yesterday was outstanding. He was much more at peace, did not attempt to be forcefully controversial. Except dragging the last shlokam from one raga to other in a flurry, he was in his elements through out.

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Posted by on September 5, 2015 in Uncategorized

 

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Cherthala Ranganatha Sharma @ Odukathur Mutt , 01 Sep 2015

Vocal : Cherthala Ranganatha Sharma

Violin : Mysore Srikanth

Mrudangam : J Vaidyanathan

Ganjira : Anil Parashar

List:

01.  inta chAlamu – bEgaDa – vEnna Kuppiyer

02. siddhi aruL shivashakti bAlakanE – nATa – Neelakanta Shivan  ( S )

03. smaraNe ondE sAladE – malayamArutam – Purandara Dasa ( O,S )

04. parama krpA sAgari – yadukula kAmbOji – GNB (short Sketch)

05. E rAmuni nammitinO – vakuLAbharaNam – Thyagaraja ( A,N,S )

neraval & swara @ ‘ EkAntamuna sItA sOkOrchi jOgoTTa kAkAsuruDu cEyu’

06. inta tiru vaDivam – vasanta – Neelakanta Shivan

07.  gAngEya vasanadhara – hamIrkalyANi – Swathi Thirunal ( A,N,S,T )

neraval & swara @ ‘gAngEya vasanadhara padmanAbha’

08. sattalEni dinamu – nAganandini – Thyagaraja

09. RTP -nAtakurinji –  Khandajati triputa , khanda nadai , +1 eduppu(?)

pallavi line ‘ shambhO mahAdEva vibhO pAhi prabhO santatam svayambhO’

pallavi trikalam in nAtakurinji & pantuvarALi ( after pantuvarali swara)

rAgamalika swaras in pantuvarALi , surutti, bhAgEshrI , sOhini/ hamsAnandi

10. chentAr sAyaka rUpa – behAg – Irayimman Thampi

11. hari guN gAvat nAchUngi – dIpALi?? – Meera Bhajan

12. mangaLam – saurAshtram / madhyamAvati – Thyagaraja

Another fabulous concert by Sri Ranganatha Sharma. The smile and happiness on the faces as they were leaving the hall, were the testimony to what he delivered on this day. A sense of peace and tranquility prevailed. No exhilaration, no frown faces, no shuffling of the sequence; yet again another display of pure classicism. If you have substance, you dont have to engage in altering the form or devices to entertain the listeners. I only wish, he get more chances in Bangalore and the hall will have as many listeners as some of the lesser capable artist manage to gather.

I reached after the varnam. Neelakanta shivan’s kriti in Nata was on and a few rounds of swaras to add. I am so used to listening to the repeat of nata kalpana swaras in the same sequence from one artist to the other with no real variety. Malayamarutam kriti was also did not really make any ‘aha’ moment. Well, some kalpana swara phrases were impressive though. The kriti was sung in a slightly faster tempo. I would have liked it a notch or two lower. GNBs yadukula kamboji was pretty nice. I’ve heard him sing this a couple of previous occasions before.

4 kritis down and apart from a short Yadukulakamboji sketch there was no raga alapana until now. To me, the highlight of Ranganatha Sharma’s concerts are the way he explore the raga, the essence of it is beautifully delineat , carefully build and flourish in front of you  with exceptional clarity through the alapana. I could sense a mild strain in voice early on and he might have waited for the voice to warm up. The wait indeed had its good. What a brilliant vaklabharanam alapana that was. We were initially aligning our concentration to mAyAmALava gauLa, but soon realised we did not have to go that far, but stay a mEla lower. E rAmuni, removed the small doubt I had on my mind. This really changed the whole aura of the concert. An outstanding neraval at ‘ekantamuna’ added to the brilliant kriti singing. Kalpana swara, however, was much shorter to the overall build up until then. Phenomenal effort.

After another rare vasanta kriti of Neelakanta Shivan, he lunched into another emotive hamir kalyani alapana. Just as brilliant as the previous one. Mysore Srikant who did a phenomenal job through out the evening, was at his best here. I guessed venkata shaila to flow in, but gAngEya vasanadhara was even better. He did another great neraval at the pallavi line. I thought it is a bit tricky to sing neraval here, but he did not seem to have any trouble whatsoever. The kalpana swaras were again a cracker. Vaidyanathan and young ganjira artist played out a decent tani avartanam. Vaidyanathan was at his elements, and was accommodating the younger supporting artist. Some attractive time play was the highlight.

Again very carefully chosen naganandini kriti came before the pallavi. Two phase alapana of Natakurinji wasn’t grand but was very sublime and extracted essence. Tanam was pretty good. Though it is not appropriate to nitpick in such a great concert, I would have liked if he had selected a different pallavi line. The occasion was gokulashtami and the pallavi was apt for the Shivarathri series concert. I see very few artist take the occasion and location into consideration while planning their concert. TNS is probably the only exception to this. Having said that, the pallavi by itself was very very good. Trikalam was executed very effortlessly with some impeccable precision in a not so common talam and nadai. After natakurinji swaras he started the ragamalika swaras with pantuvarali and came back and did another pallavi trikalam in pantuvarali. I was expecting him to do so for the rest, but that did not happen. The last swara  sounded hamsanandi-ish, but I think it probably is a very close raga ( not sure if it was sOhini or sunAdavinOdini) to hamsanandi.

Post pallavi and the speeches was notable for the Irayimman Thampi’s javali ‘Chentar Sayaka Roopa’ in behag. I recently heard him sing this in a TV program, but this was better. A Meerabhajan concluded the concert.

Another gem of a concert again. Vakulabharanam, hamir kalyani and natakurinji as three main raga for the evening. Some very clever and impressive pick of the rest of the kritis , a few rare ones. No major ragas at all, but hey, who is complaining. Hope to see him more often in Bangalore.

 
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Posted by on September 2, 2015 in Uncategorized

 

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Sanjay Subrahmanyan @ Odukathur Mutt , Gokulashtami Series, 24th Aug 2015

Vocal : Sanjay  Subrahmanyan

Violin : S Varadarajan

Mrudangam : Palladam Ravi

Ganjira : Alathur Rajaganesh

List:

01  jalajAkshi ninne ( varNam ) – chakravAkam – Patnam Subramania Iyer

02  jaya jaya, jaya jAnaki kAnta – nATa – Purandara Dasa ( S )

03  vinatA suta vAhanuDai – harikAmbOji – Thyagaraja  (doubtful)   ( A,S )

04 shrI venkaTEsham vAram – thODi – Ramanathapuram Srinivasa Iyengar  ( A )

05  kANA kannAyiram vENDum – nIlAmbari – Anai Ayya

06  sukhi evvarO rAma nAma – kAnaDa – Thyagaraja ( A,N,S,T )

neraval & swara @ ‘sukhi evvarO rAma nAma’

07  vandE sadA padmanAbham – navarasa kannaDa – Swathi Thirunal ( O )

08  RTP – pUrvi kalyANi – mishra nadai

pallavi line  ‘tamizhukku amudenru peyar , inba tamizh engaL uyirukku nEr’

rAgamAlika swaras in hindOLam, simhEndramadhyamam, patdIp

09  ennamO vagayAy varugidu – khamAs – Ghanam Krishnaiyer

10  lALisidaLu maganA – rAgamAlika (dEsh, jOnpuri?) – Purandara Dasa

11  viruttam ( maruL uravE ennai mayakkiDum ? ) – kApi

Ishanenru guhanE ?? – kApi – ?

12  mangaLam – saurAshtram – Thyagaraja

This concert probably would be talked about for a few days to come. This being his first concert post the announcement of the Sangita kalanidhi selection for this year , the expectations was huge. Concert started off decent, with a chakravakam varnam and the nAta kriti. Few rounds of swaras that accompanied jaya jaya jAnaki kAnta was again good. But his body language, showed a lot more excitement and indicated the mood for the rest of the evening. Those shake of head, those change in direction, the constant shift of seating, general display of restlessness ( in a positive sense, hardly waiting for Varadarajan to complete) were noticed from the beginning. To me, this is the signal of great things to come.

Yesterday, there were 4 alapana and that is the highlight of the evening. Each of them were detailed and presented with great deliberation and differentiation. Hari kamboji was the first and had mostly the traditional fair, hints of its more popular janya at places. The kriti was indeed a welcome change. I was deducing the possibilities and concluded on rAma nannu brOva as a potential choice. However he surprised with a rare piece, which is dubiously attributed to Thyagaraja. Vinata Suta vAhanuDai is a first time listening experience for me. Kriti itself , per se, was decent. He sang some brilliant swaras at the end.

Thodi alapana was the pinnacle of the evening. The start itself was very refreshing. Some of the techniques ( not finding a better word) and the phrases were very unique. The voice was at its best, allowing to experiment and deliver all that he was attempting. He did spend considerable time for alapana up in front. Varadarajan was excellent as always. Poochi kriti was again not often heard one in the concerts. Unlike the medium and fast tempo kritis earlier, this was in much lower speed. There was no neraval or swara here. Another slow neelambari came in before the main, to set the stage.

Kanada alapana was again grand. Largely deploying the familiar phrases, trying various speeds and octaves and focusing on the overall emotive aspect of the raga. Another brilliant return came from Varadarajan. He choose the pallavi line for neraval, started at rAma nAma and switching once ( or twice) to ‘tAraka rAma – sukhi evvarO’. Very elaborate and typical two speed variations , before finishing with a cracker. Surprisingly kalpana swaras was done in a looooong single sequence in the first speed.

Palladam Ravi was a refreshing change and presence on stage. He complimented brilliantly, often filling the pauses with some classy interludes. Often witnessed Sanjay allowing him to complete some of the plays be extending the time for him. The tani avartanam was again very nice. The head shakes and those laborious fast beating of the instrument ( which one usually observe) was much subdued if not eliminated. Alathur Rajaganesh was equally good during tani.

A beautiful navarasa kannada kriti of Swathi Thirunal was sung before the pallavi. I’ve heard Sanjay singing this in detail with an alapana and alpana swaras before. There was few ‘ninnu vinA nAmadentO’ style sangatis here. Not sure if it is in the original. Poorvikalyani was the pallavi. Alapana was again very good. Tanam was sung only in the second speed ( and third , fourth and ..). I am a fan of low speed tanam.  A Bharatiyar inspired pallavi line in Tamil was good. Hindolam and patdeep in ragamalika swarams were beautiful.

Already over 3 hrs, the post main was much short, despite the 3-4 songs he did. While they were all good, nothing to boast home about. Even the viruttam was very short ( one line?). But who is complaining, after entertaining us for 3.5 hrs. This was one helluva concert.

 
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Posted by on August 25, 2015 in Uncategorized

 

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Malladi Brothers , Kalotsav @ Odukathur Mutt 19th Feb 2012

Vocal: Malladi Brothers

Violin : M A Sundareswaran

Mrudangam : Kamalakar Rao

Ghatam: Dr.S.Karthik

List:

01  vanajAkshirO ( varNam) – kalyANi – Ramanathapuram Srinivasa Iyengar ( O )

02  tyAgarAja pAlayASumam – gauLa – Dikshitar ( A-short, S )

03  dinamaNi vamSa- harikAmbOji – Thyagaraja ( A,S )

04  SambhO mahAdEva – pantuvarALi – Thyagaraja ( A,N,S )

       neraval & swara @ ‘ SambhO mahAdEva SaraNAgata jana rakshaka’

05  sadAmatin – gambhIravANi – Thyagaraja  ( O )

06  Emani nE – mukhAri – Subbaraya Shastry ( A,N,S,,T )

        neraval & swara @ ‘ sAmaja gAmini sArasa lOchani -amba’

07  smarisO sarvadA hariya – hamIr kalyANi – Purandara Dasa ( O )

08  jaya jaya durgE – durga – Narayana Thirthar

09  itaDE nA ee lOkamulOgala – sALaga bhairavi – Bhadrachala Ramadas

10  kASi kASi gangA sankaTa vAraNAsi – nAthanAmakriya – Ganapati Satchidananda

11  SaraNu SaraNu surEndra sannuta – chenchurutti – Annamacharya

12 mangaLam – saurAshtram – Thyagaraja

The concert season at the Shivarathri Kalotsav held at Odukathur Mutt concluded with a bang ! A phenomenal concert to finsh the series, which started off with a beautiful concert. Except for a slightly high amplification ( for the vocals), every thing else fell in place, to provide an outstanding concert.

It did take a while to settle things. Sri Kamalakar Rao had his issues with the tuning of mrudangam, so much so that the desciple sitting next to him had to carry the instrument back tothe green room during the pantuvarali alapana to set this back to perfection ( well to an extend). From there on, the concert was at a different level. Every piece renderd yesterday was measured to the optimum.  The initial varnam and gaula kriti came and went as the things were taking shape. Short harikamboji alapana and the dinamani vamsa set the tempo. However, it was from the pantuvarali alapana ,things elevated to different level. Shambho mahadeva came with all its majestic form. Beautiful neraval at the pallavi line, some brilliant kalpanaswaras added to the overal effect.

After a short filler of gambhiravani, Ravikumar started the alapana of mukhari. What a treat. It was splendid and beautifully ‘choreographed’ if I may use the term. Progressed meticulously, with some innovative display of skills at the higher octaves, the smooth descent … it was fabulous. So, was the violin play be M A Sundareswaran. Being the Shivrathri eve, I was expecting ‘Inraikku Shivakripai’ to follow, but the choice was ‘Emani nE’ , a grand piece by Subbaraya Shastry. The good work with alapana continued through out the main , with some great neraval and swara singing, with the rest of the accompaniments chipping in.

After the re-tuning of mrudangam, veteran Kamalakar Rao was a different persona. He , aptly supported and ‘nudged’ by Kartick, was producing some brilliant percussion support. He seems to be never satisfied with the perfection of his intrument, often making minor adjustment. This, however, never dithered him from producing an outstanding tani avartanam with enthusiastic Karthick. This alone, was worth my time at the concert.

Post main saw a string of kritis , typical of them, from Purandara Dasa to Annamacharya. Durga and salagabhairavi kritis were especially beautiful. Whole lot of happy faces at the end of one fabulous concert. 

 
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Posted by on February 20, 2012 in Concert songlist

 

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Abhishek Raghuram , Kalotsav @ Odukathur Mutt 12 Feb 2012

Vocal : Abhishek Raghuram

Violin : Akkarai Subbulakshmi

Mrudangam : Ananth R Krishnan

Ganjira : Guruprasanna

List:

01 sAmi ninnE kOri ( varNam) – Sri – Karur Devudu Iyer  ( O )

02  chAla kallalADu – Arabhi – Thyagaraja  ( N )

         neraval @ ‘iLalO sari vAralalO ‘

03  appa rAma bhakti – pantuvarALi – Thyagaraja  ( A,N,S )

        neraval & swaras @ ‘ trippaTalanu dIrci kaNTi reppavalEnu gAcu mA ‘

04  kArtikEya gAngEya – thODi – Papanasam Sivan ( A,S,T )

05  thillAna ( tana tadana dhim) – mOhanakalyANi – Lalgudi Jayaraman

06 mangaLam – saurAshtram – Thyagaraja

It was a near three hour concert.. only 3 kritis ( apart from the varnam and thillana).  Every thing was long , loud, chaotic and fast. Too many things tried at once , too much to my comfort.

Started 15 min late, he started off with a short sketch of Sri before getting on with the varNam in two speed.  Arabhi kriti started soon ( well, after a change of microphone) and he did an elaborate neraval at iLalo, with varying speed. Pantuvarali alapana was long and pretty decent.  Apparama bhakti also was sung pretty well. Somewhere it got into the high octane mode from the neraval. It was an overall noise since then. In the melee , some of the good shcemes and phrases might have lost its beauty.  Make no mistake, the swara singing was fabulous and he was on a roll with nothing seems to stop him flow of imagination.

Thodi alapana was very long ( but it is normal for his concerts) lasting 30 mins. All that could possibly have done was done there. As the alapana progressed,  he too swayed high and low, left and right , up and down both physically and through kala pramana and octaves. It was intersting to watch him and (than!) listen.  His effort did receive enthusiastic response from the crowd. Akkarai Subbulakshmi, did the same with a 15 odd minute of alapana from her side, more or less followingthe same path. Karthikeya Gangeya was sung well with some intersting sangatis and improvisations from his side. There was no neraval , but had elaborated swaras again, mostly done in second speed. 

Percussion support in general was loud through out. Ananth R Krishnan and Guruprasanna continued their run with a spirited tani avartanam. I liked the way Guruprasanna supported through out the day.  Post main was limited to a thillana in Mohana Kalyani before closing with the mangalam.

 
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Posted by on February 13, 2012 in Concert songlist

 

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