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Sukanya Prabhakar @ Gayana Samaja 23rd Apr 2017 Thematic Concert on Jayachamarajendra Wodeyar

Vocal : Sukanya Prabhakar with Sumana Vedant ( daughter )

Violin : T S Krishnamurthy

Mrudangam : C Cheluvaraju

Ghatam : M Gurumurthy

Thematic Concert on Jayachamarajendra Wodeyar

List :

01  shLOkam ( shrIvidyAm jagatAm dhAtrIm) – hamsAnandi

shrImad chAmuNDEshvari (varNam) – hamsAnandi – Adi -Veena Venkatagiriappa ( S )

02 gam gaNapatE namastE – durvanki – tishra triputa – Jayachamarajendra Wodeyar

03 shrI jAlandharamAshrayAmyaham – gambhIranAtta – Adi – Jayachamarajendra Wodeyar ( A,S )

04  shLOkam ( shrIranga mangaLa nidhIm karuNA nivAsAm ) – kalyANavasantam

shrI ranganAtha pAhimAm – kalyANavasantam – mishra jhampa- Jayachamarajendra Wodeyar

05 sadAshivam upAsmahE – sarasAngi – Adi – Jayachamarajendra Wodeyar ( A,N,S )

neraval @ sadguru rUpadharam shankaram

swaras @ sarasAngArdhanArIshwaram

06  amba shrI rAjarAjEshwari – bhOgavasanta – Jayachamarajendra Wodeyar ( S )

swara @ ‘vikAra rahita vimalEshwari’

07 RTP – kIravANi – chaturashra triputa , 2 kaLai  1/2 Eduppu

pallavi line ‘shrI jayachAmarAja bhUpAlam smarAmi namAmi’

Swaras in kIravAni , no rAgamAlika swaras

tani Avartanam

08 shLOkam ( kara charaNa krtam vA kAyajam karmajam vA) – nAtHanAmakriya

shiva shiva shiva bhO – nAtHanAmakriya – mishra jhampa – Jayachamarajendra Wodeyar

09  shrI madyadukula vAridhi – rAgamAlika –  Mysore Vasudevachar ( sang as shLokam)

10 mangaLAm – saurAshtram / shrI – Thyagaraja

Absolutely fantastic concert yesterday evening by the Vidushi. I am so very happy that I decided to attend this over the venue just across the road. I was expecting a typical concert of compositions of the Royal Composer of Mysore, accompanied with necessary commentary.  What was so good was the way she separated the discussion on the composer and the concert itself.  She spent the first 15-20 mins on the composer and some of the intricacies of his compositions before getting into a full fledged concert.

She started with a brief introduction of the Royal Composer. Mysore royal family had been great connoisseurs of art and culture for many generations ( I guess she mentioned JCW was the 25th Wodeyars of the clan). Artists from various part of the country were invited and encouraged to perform and learn.  Born on 18th July 1919, he was the ‘adopted son’ ( there are some legends about this so called curse of the Mysore family) of Nalwadi Krishnaraja. He was introduced to music and culture at an early age. But he was more interested in Western Music and was an expert in playing Piano. It was much later he was interested in Carnatic Music. He learnt both Veena and Vocal under Veena Venkatagiriappa, later continued his training under Mysore Vasudevachar.

Jayachamarajendra Wodeyar has composed 94 kritis in total. Only kritia, no varnam, no thillana, no javali, no jati swara or any other forms of composition. All 94 are in Sanskrit, in which he was proficient, and were in 94 different ragas. He has created a few ragas and composed in those , eg durvanki, bhOgavasanta. He was a ‘srividya upasaka’ under the guidance of his guru, Sri Siddhalinga Swamy. All his composition as this as his ‘mudra’.

All his compositions have madhyamakala sahitya and rAgamudra, an inspiration from Dikshitar, and very well incorporated chittaswaras. He has also used a large variety of tala for his compositions ( 35 in total ) including a few complex ones like sankIrNa triputa anf khaNDa mathya.  64 of these compositions are on Goddess (dEvi) in various forms. 11 on Ganesha, 15 of them on Lord Shiva and 4 on Lord Vishnu.

To the concert….

She started her concert with a varnam ( first time for me) composed by his guru, Veena Venkatagiriappa. A 2 kalai, vilamba varnam in hamsAnandi, leisurely paced. Very interesting. The duo sang few rounds of kalpana swaras in the same speed.

Durvanki raga composition, probably only one in that raga, was the Ganesha kriti. His familiarity with western music probably influenced him here, as durvanki is a janya of shankarabharanam. She said the raga can have some similarity to sAma or mAND in some prayoga.

Gambheeranatta composition, popularised by MLV, was sung next. Daughter seemed to have nudged the mother with few takes of alapana, as Vid Sukanya took over from there and presented a short nice alapana. There was some rounds of impressive swaras too. Kalyanavasantam kriti was very nice. I loved the shloka she sang before the kriti.

Sarasangi was very detailed. Elaborate raga shared by the pair. Daughter was very very impressive with some absolutely beautiful phrases. However, it was sri Krishnamurthy blew me away. What a stupendous alapana he did. Outstanding stuff. Nice kriti, amazing neraval at sadguru roopadharam and equally classy kalpana swaras at the rAgamudra. This probably was THE BEST part of the evening.

As expected ( I was sure that she will sing this in the evening), she talked about bhOgavasanta. She said, until last evening she was thinking this is the only composition in this raga. Apparently, there is one composition by Periyasamy Thooran and one more ( she mentioned the name of some swamy, I couldn’t register the name). There was no alapana this time, she merely sang the mUrchana before singing the kriti.  I think, I’ve heard her singing a detailed alapana for this kriti in a Radio concert. But, there was some crispy swaras at ‘vikAra rahita vimalEshwari’

I was expecting a big kriti of Wodeyar as the main, but she chose to sing a pallavi composed for this occasion.  Nothing innovative or worth a word of the pallavi line, though. Keeravani alapana was again pretty nice. Violin was good too. He did a fleeting sojourn to hEmavati(?)  as grahabhEdam in his turn. I could see the artists glancing at the clock and nodding at each other. Tanam was short, Krishnamurthy played some delectable movements. There was no trikalam and the swaras were limited to the main raga, without any ragamalika exposition.

Post the customery felicitation and she sang the popular ( by MS) nathanamakriya composition followed by a ragamalika composition by Vasudevachar , in praise of Wodeyar. They sang it as shLOkam, and not as composition. Pretty good, nonetheless.

Few things impressed me last evening. One, the young vidushi. Vid Sukanya and Sumana sang in tandem, sat together and shared, be it  the alapana, neraval or kalpana swaras, among them. Sumana sang brilliantly through out. Two, Vid T S Krishnamurthy. He was brilliant through out the evening. His sarasangi alapana will remain in my memory for a very long time. Three, the way she presented the theme. She did not present it as a JCW compositions concert, but included the compositions of two of his gurus who shaped and formed the musical tastes of the Raja Composer. The pallavi created for the occation. The way she sang shlokam’s before the compositions. There were three in total, and I love them coming in concerts.  Cheluvaraju is the apt choice for such concerts. His non interfering way of playing mrudangam made a lot of sense. The essence of music is not submerged in the enthusiastic percussion noise here. Even his tani avartanam was a subdued affair.

Let me repeat, an amazing concert. It will remain in memory for a while.

 
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Posted by on April 24, 2017 in Uncategorized

 

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Gayathri Girish , Nadasurabhi 20 Oct 2013 – Thematic Concert on Forms of Shiva

Vocal : Gayathri Girish

Violin : B K Raghu

Mrudangam : H S Sudheendra

Ghatam : Phanindra Bhaskara

Theme :  Varied forms of Lord Shiva

List:

01. SrI mahaganapatiravatumAm – gauLa – Dikshitar ( S )

bhikshAtana mUrthy

02.  mArakOTi kOTi lAvaNya – Arabhi – Dikshitar ( A )

bhairava mUrthy

03. kAlabhairavam bhajE ham – bhairavam – Dikshitar

kalyANasundara mUrthy

04 SrI pArvathi paramESwarau vandE – bhauLi – Dikshitar

gangAdhara mUrthy

05. gangAdhara tripura haraNa – pUrvikalyANi – Mysore Sadashiva Rao ( A,N,S )

neraval & swara @ ‘ sadASiva vinutAnanda sambhramachittAsura’

umA mahESwara mUrthy

06. chintayE mahAlinga mUrthim – paras – Dikshitar

07. Ehi trijagadISa – sAranga – Thyagaraja

sOmAskanda mUrthy

08. chintaya mAkanda mUlakandam – bhairavi – Dikshitar ( A )

09. vIra vasanta thyAgarAja mAm pAlayASu – vIra vasanta – Dikshitar

riSabhArUDha mUrthy

10. akshayalinga vibhO – SankarAbharaNam – Dikshitar ( A,N,S,T )

neraval & swara @’badarI vanamUlanAyikA sahita’

sadASiva/bhairava/nIlakanda.chandraSEkhara murthy

11. pAhi gaurIsha panchamukhESa – nAthanAmakriya – Venkata Vittala Dasa

12. nAgEndra hArAya trilOchanAya ( Siva Panchakshari stotram) – rAgamAlika ( kalyani,revati) – Sankaracharya

13. mangaLam bhavatu tE mAtanga vadana jaya – pantuvarALi – Muthaiah bhagavathar

There has to be more of these kind. It is always interesting to attend a thematic concert. One, it move away from the predictable, both in terms of the kritis and the structure, experience. More over, if done with intelligence and thoughtfulness, this can provide a very enriching experience to the artist as well as the listener. Smt Gayathri Girish’s concert on the whole provided this refreshing experience, in terms of the kritis she selected to present. While, some of them did not live up in the presentation, especially in the initial stages, the attempt was laudable. Almost all the kritis were those which does not find a place in the typical concert list.

Before starting of the concert, she did elaborate on the theme and the reason to present a concert in the selected theme. Taking from the scriptures before the epics, she said, while there is always the ‘supreme power’ the ‘nirguNa brahma’ which is propagated through the ‘advaita’ philosophy, the earlier sages understood the need of having a ‘form’ for the infinity, the omnipresent, all encompassing  ultimate power. That is the only way mortals, less educated, simpleton could approach the God.

In the world of music, ‘nadopasana’is pursued as a ‘sadhana’ for spiritual growth. Muthuswami Dikshitar, in particular, was an advaitin and this philosophy in evident in his 480 odd compositions.

Shaivite literature and writings give many forms for Shiva ( 108 in Shivapuranam, 64 in shiva parakramam), in a different approach, probably ‘agamic literature’ 5 faces of Shaiva murthy and 5 forms of each face thus resulting in a total of 25 forms were described. Apparently, 99% of Shiva temples are based on this 25 forms of Shiva.Dikshitar in his compositions, does not merely restrict himself at these forms, but goes beyond the form by describing the tale, the iconography, the geography and other aspect related to the temple deity in discussion.

While taking up specific form for discussion before delivering the kriti corresponding to the chosen form, she gave a specific explanation on the kriti, the temple and deity described in the kriti, its referential nature to the stories, the other surrounding aspect of the temple, the ‘prasa and alankara usage’ apart from pointing to the clever incorporation of the ‘rAgamudra’ ( arabhi, bauli, paras – pa riju’ etc) to educate the listener.

Concerts USP is the theme and the kriti’s selected to present. Somewhere in the beginning part, it did not seems to be coming off well in singing, partly due to the constant shifting from talk to singing. She indicated at bhairavam and paras kritis that she will adhere to the ‘Sangeetha Sasthra Pradarshini’ way of singing. But to me it came in as the regular bhairavam ( mariyada gada) and paras.  The neraval of ‘gangAdhara’ kriti ( anothe gem of a kriti and fabulous choice), was also a bit awkward when she sang ‘sambhrama chttAsura’. I was wondering which ‘asura’ was this, until Keerthi came to my rescue with proper ‘padachEdam’ as ‘sambhramachitta asura madahara’ ( she did not sing the madahara part, which made it look awkward to end at cittAsura). Bhairavi was also very good barring a slip from ‘uttunga’ ( pun intended) once.

Her arabhi, pUrvikalyani and bhairavi alapana were decent, nothing to talk about. However, B K Raghu played a fantascit bhairavi with some brilliant takes in his return. Sankarabharanam was far far better and did show some brilliance. Akshaya linga vibho was grand, very detailed neraval, and elaborate swara prasthana , reminding of her Guru TNS to some extend, finishing it with grandeur befitting to the status of the main piece of the concert.

B K Raghu was good whenever he had solo chance. his alapana of bhairavi was top class and Sankarabharanam was very good. The playing along for kritis were disappointing. Most of them are not heard kritis and one can give him that benefit.  Sudheendra dn Phanindra were as effective in their percussion support. The duo played out a well timed, pleasantly executed tani avartanam. Post main continued with the same theme, with a devarnama of Venkata Vittala Dasa, a stotram and a ‘shaiva’ mangalam of Muthaiah Bhagavathar.

While I have reservations on the way a few kritis spanned out, I am overall impressed with the attempt. Though the list is heavily leaned towards Muthuswami Dikshitar ( she did mention that in advance), it had many unheard kritis. The overall reception in the audience was also very enthusiastic to the credit of the artist.

 
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Posted by on October 21, 2013 in Concert songlist

 

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Manasi Prasad , thematic concert @ BTM Cultural Academy 26th Apr 2013

Vocal : Manasi Prasad

Violin : Mathur Srinidhi

Mrudangam : N Vasudeva

Morsing : Bhagyalakshmi Krishna

Special thematic Concert “Rare Janaka Ragas of Popular Janya Ragas”

List:

01 SLOkam ( nA ham)..

muddumOmu ElAgu – sUryakAntam – Thyagaraja ( O )

02  rAmA nannu brOvarA – harikAmbOji – Thyagaraja ( N,S )

neraval & swara @’meppulakai kannatAvu nappu baDaga

03  EdayyA gati – chalanAta – Koteeswara Iyer ( A )

04  idi nIku nyAyamA – gamaNASramam – Mysore Vasudevacharya

05  srI vaLLi dEvasEnApatE – naTabhairavi – Papanasam Sivan ( A,N,S )

neraval & swara @ ‘ mAmava sadA SivakumArA’

06  RTP – dharmavati -khaNDa triputa x 2 kaLai , starting at +1/2 from samam.

pallavi line “vidhiyuvatE bhagavatE mahatE bhAratE, SAradE dharmavathE’

swara in dharmavathi, no rAgamAlika swaras.

06B.   tani Avartanam

07.  jAnE rO ( javaLi) – khamAs – ??

08  ugabhOga ( gOvindanA kaNDE) – hamsAnandi

kaNDEnA gOvindanA – hamsAnandi – Purandara Dasa

rang rang ro shAmji – hamsAnandi?- ?

09  thillAna ( tata dhIm tadhIm jhamta Namta tOm) – madhuvanti – Lalgudi Jayaraman

10  mangaLam – saurAshtram – Thyagaraja

Thematic concerts are where you get to listen to something new. They make the aritst to think differently, beyond the normal planning of a concert. Hence after a series of Keeravanis and Simhendramadhyamam, I was fairly confident that one of them will not feature today as the main. The theme is intersting, as she introduced this as “neglected parent of a famous child“. What I was inquisitive to see, was her choice of ragams for the theme. I was a bit worried when she picked up harikAmboji as one in the early stages. Agree, Kamboji and Khamas are prominent, but one get to listen to Hari kamboji in concert. But, it was ok, as the rest of them did justice to the scheme and theme.

Also, the concert did pick up steam after the harikamboji neraval and swara. There was some thing amiss in the overall listening ambiance. The sound system wasn’t all that clear. Vasudeva was subdued as one of the mike was picking up the vibration and causing al sort of discomfort with his left side. Every ‘beat’ on the left was overly echoing in the hall. Luckily, things settled after a few cushions and some shifting of the seating. The concert did move pretty well from there on.

First Alapana came in chalanata. Fairly decent affair by both vocalist and the violin. After hearing Sanjay sing a pallavi couple of years ago at Fort School, this is the first time I am listening to a detailed alapana, and it was good. Koteeswara Iyers kriti came in with style, and against my expectations, there was no kalpanaswaras. Vasudevachar’s gamanashrama kriti was next. Good choice, and I personally think this has larger scope of elaboration as there is a distinct flavour for this raga.

Natabhairavi was the main alapana of the day. Quoting Prof.SRJ’s remark of ‘regrettably neglected’ raga, she mentioned the famous MLV pallavi, which stood as a reference in Natabhairavi. On her part, Manasi Prasad gave a very good alapana of the raga and Srinidhi on his turn did another brilliant job lifting it up by a notch. Papanasam Sivan’s kriti with neraval and kalpana swara was top class.

A Pallavi was main in dharmavati. Neatly build up and progressed alapana with some exquisite phrases marked the evening, which superbly replicated by Srinidhi on violin. Despite a few repetitiveness, I thought she did a grand job. Pallavi was very good with well executed trikalam and swaras. However pallavi line was sung with some heavily accented diction I was confused if she is singing ‘vidhiyuvathi, bhagavathi’ or ‘ vidhiyuvathE bhagavatE’. There as no ragamalika swaras.

Post main she decided to pay respect to the janya ragas. A javali in khamas, a devarnama in hamsanandi before the Lalgudi thillana in madhuvanti ( the janaka of all three were performed in the main section) before the mangalam.

Overall, it was a very decent presentation. Her selection of kritis and composers were good. The measure was appropriate and the overall planning and control was amicable. The supporting artist joined in effectively. Vasudeva and Bhagyalakshmi were apt, and they played a nice tani avartanam. Very well planned and executed concert by Manasi Prasad.

 
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Posted by on April 27, 2013 in Concert songlist

 

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