Dikshitar Day, T G Badri Narayanan, Music Club IIT Madras
Dikshitar Day was celebrated at Music Club, IIT Madras on 9th November 2004, a day before the Dikshitar Aradhanai which falls on naraga chathurdasi, the day before deepavali on 10th Nov. The evening featured a vocal concert by Sri. T G Badrinarayanan, a senior disciple of Sangeetha Kalanidhi (late) Sri. D K Jayaraman. He was accompanied on the violin by Sri. Nishant Chandran, on the mrudangam by Sri. N. Manoj Siva and on kanjira by Trivandrum Sri. D. Rajagopal.
The evening started with a neat rendition of the gurjari kriti, guNijanAdi with aesthetically structured ciTTai swarams. This was followed by siddhi vinAyakam in cAmaram (aka shanmukhapriyA) with swarams at prasiddha gaNanAyakam and siddhi vinAyakam. The vAra kriti of tuesday angArakam AshrayAmi in suruTTi was next rendered neatly. The first elaborate piece of the evening was kAsirAmakriyA (aka pantuvarAli). After a well developed good elaboration of the rAgam, the kriti visAlAkshim ended with neraval and swarams at kAshIrA~nIm kapAlinIm. A brisk 'purahara nandana' in hameer kalyani was the next to be followed by 'soundararAjam AshrayE' in brindAvana sArangA in a slow tempo.
The short and crisp Anandha bhairavi AlApanai is one to remember, followed by 'kamalAmba samrakshtumAm'. Then came a nicely developed tODi AlApanai and the kriti 'srI kr.SNam bhaja' was beautifully rendered. Neraval was done and swarams were rendered at 'shanka cakra gadA padma vanamAlam' followed by taniavarathanam. A soulful rendition 'ranganAyakam' in nAyaki and 'annapUrNe' in sAma led to the rAgamAlika mangala kriti 'simhAsanastitE'.
The kriti renditions, AlApanai, neraval, swarams, diction, in all everything was in strict adherence to the DKJ school. Sri. Nishant Chandran on the violin did a good job with tODi. His kAsirAmakriyA though started on a tentative note was well built. Sri. Manoj Siva, who is also a disciple of Sri. DKJ himself, played the mrUdangam for the kriti with adherence to the rAga and sAhitya bhavam. The tani Avarathanam was also very good. Sri. Trivandrum Rajagopal on the kanjira also provided good accompaniment.
A FITTING TRIBUTE TO DIKSHITAR
bharath
The evening started with a neat rendition of the gurjari kriti, guNijanAdi with aesthetically structured ciTTai swarams. This was followed by siddhi vinAyakam in cAmaram (aka shanmukhapriyA) with swarams at prasiddha gaNanAyakam and siddhi vinAyakam. The vAra kriti of tuesday angArakam AshrayAmi in suruTTi was next rendered neatly. The first elaborate piece of the evening was kAsirAmakriyA (aka pantuvarAli). After a well developed good elaboration of the rAgam, the kriti visAlAkshim ended with neraval and swarams at kAshIrA~nIm kapAlinIm. A brisk 'purahara nandana' in hameer kalyani was the next to be followed by 'soundararAjam AshrayE' in brindAvana sArangA in a slow tempo.
The short and crisp Anandha bhairavi AlApanai is one to remember, followed by 'kamalAmba samrakshtumAm'. Then came a nicely developed tODi AlApanai and the kriti 'srI kr.SNam bhaja' was beautifully rendered. Neraval was done and swarams were rendered at 'shanka cakra gadA padma vanamAlam' followed by taniavarathanam. A soulful rendition 'ranganAyakam' in nAyaki and 'annapUrNe' in sAma led to the rAgamAlika mangala kriti 'simhAsanastitE'.
The kriti renditions, AlApanai, neraval, swarams, diction, in all everything was in strict adherence to the DKJ school. Sri. Nishant Chandran on the violin did a good job with tODi. His kAsirAmakriyA though started on a tentative note was well built. Sri. Manoj Siva, who is also a disciple of Sri. DKJ himself, played the mrUdangam for the kriti with adherence to the rAga and sAhitya bhavam. The tani Avarathanam was also very good. Sri. Trivandrum Rajagopal on the kanjira also provided good accompaniment.
A FITTING TRIBUTE TO DIKSHITAR
bharath
Labels: music club, Vocal
posted by bharath at 11:36 AM
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