Suguna Purushottaman, Music Academy
suguNa purushOttaman
mullaivAsal chandramauLi
B gaNapathy rAman
ravichandran
Music Academy, TTK Auditorium, 25th December 2004 10:00 am
Era nApai - varNam - tODi (in three kAlams including tisra gati and also svarams at caraNam)
Orajupu chOsEdi - kannaDa gauLa - dEsAdi
caraNam carNam enrAnE - saurAshtram (AlApanai)
jankAra sruti - pUrvi kalyANi - Adi (neraval and svarams at "sankara sAmbava sadAsiva OmkAra"
brovavammA - mAnji - misra cApU
sudA mAdurya bAshaNa - sindurAmakriyA
srI subramaNyAya namastE - kAmbhOji - tisra Ekam (AlApanai, neraval at "vAsavAdi", svarams at "vAsavAdi", "sakala dEva" and "dApadraya haraNa")
taniyAvartanam
raghuvaram rAgavam - naTabhairavi - kaNDa Ekam (kaNDa naDai)
parAgu mAtela - savEri (sounded like a dEvarnAmA)
R T P - dharmavati - kaNDa tripuTa tALam (kaNDa naDai) 2 aksharam eDuppu, 7 aksharam kArvai - "thirumalai vAsa srinivAsa aruLa tharuNam iyAh"
short tani
govinda harE - rAgamAlikA (kApi, bAgEsrI, bEhAg, sindhubhairavi, dEsh, sivaranjani, tilang) - Adi (own composition)
The tisra rendition of the tODi varNan was very good. The saurAshtram AlApanai, though a bit short was something which one has to preserve in memories. Hearing saurAshtram other than pavamAna is a treat and with AlApanai, it was something really vintage. The neraval and svara prastharams of pUrvikalyANi were good. 'brovavamma' was rendered with a lot of bhavam.
the kAmbhOji AlApanai was true to the veteran's class. The sancArams were quite intersting ones. The pallavi and anupallavi were rendered very nicely. After the anupallavi, she sang the pallavi line first in vilamba kAlam and then in tisra naDai and then in dhurita kAlam and then went on to render the caraNam in dhurita kAlam. After that, she came back to the vilamba kAla rendition of the neraval line. The neraval was good and the svarams had a lot of kaNakku and korappu. During the beautiful tani she suddenly shifted from tisra Ekam (2 kaLai) to rUpakam (2 kaLai)
The naTabhairavi and sAvEri pieces were just rushed thro' to reach the pallavi. The elaborations of dharmavati were good. the tAnam was very short. The pallavi was rendered with the usual change of kAlams and all that and the svarams were also nice with involved kaNakku. The kOrvai which she used to finish the svaram was good. The last rAgamAlikA, a composition of Smt. Suguna was a nice ending.
Smt. Suguna was caught in the constraint of time from the end of anupallavi of "shrI subramaNyAya namastE". The tani was not fully finished. the korappu was done together. The tAnam was very short. Sri. Chandramouli on the violin was good at his saurAshtram AlApanai. He did a good job with kAmbhOji as well. His expansion of dharmavati was tending to the main artist's presentation. He just played one strech of tAnam. During the pallavi and svarams, he was missing it a few times. The percussionists were good all thro' the concert and both the tanis, the second being just 6-7 Avartams long.
mullaivAsal chandramauLi
B gaNapathy rAman
ravichandran
Music Academy, TTK Auditorium, 25th December 2004 10:00 am
Era nApai - varNam - tODi (in three kAlams including tisra gati and also svarams at caraNam)
Orajupu chOsEdi - kannaDa gauLa - dEsAdi
caraNam carNam enrAnE - saurAshtram (AlApanai)
jankAra sruti - pUrvi kalyANi - Adi (neraval and svarams at "sankara sAmbava sadAsiva OmkAra"
brovavammA - mAnji - misra cApU
sudA mAdurya bAshaNa - sindurAmakriyA
srI subramaNyAya namastE - kAmbhOji - tisra Ekam (AlApanai, neraval at "vAsavAdi", svarams at "vAsavAdi", "sakala dEva" and "dApadraya haraNa")
taniyAvartanam
raghuvaram rAgavam - naTabhairavi - kaNDa Ekam (kaNDa naDai)
parAgu mAtela - savEri (sounded like a dEvarnAmA)
R T P - dharmavati - kaNDa tripuTa tALam (kaNDa naDai) 2 aksharam eDuppu, 7 aksharam kArvai - "thirumalai vAsa srinivAsa aruLa tharuNam iyAh"
short tani
govinda harE - rAgamAlikA (kApi, bAgEsrI, bEhAg, sindhubhairavi, dEsh, sivaranjani, tilang) - Adi (own composition)
The tisra rendition of the tODi varNan was very good. The saurAshtram AlApanai, though a bit short was something which one has to preserve in memories. Hearing saurAshtram other than pavamAna is a treat and with AlApanai, it was something really vintage. The neraval and svara prastharams of pUrvikalyANi were good. 'brovavamma' was rendered with a lot of bhavam.
the kAmbhOji AlApanai was true to the veteran's class. The sancArams were quite intersting ones. The pallavi and anupallavi were rendered very nicely. After the anupallavi, she sang the pallavi line first in vilamba kAlam and then in tisra naDai and then in dhurita kAlam and then went on to render the caraNam in dhurita kAlam. After that, she came back to the vilamba kAla rendition of the neraval line. The neraval was good and the svarams had a lot of kaNakku and korappu. During the beautiful tani she suddenly shifted from tisra Ekam (2 kaLai) to rUpakam (2 kaLai)
The naTabhairavi and sAvEri pieces were just rushed thro' to reach the pallavi. The elaborations of dharmavati were good. the tAnam was very short. The pallavi was rendered with the usual change of kAlams and all that and the svarams were also nice with involved kaNakku. The kOrvai which she used to finish the svaram was good. The last rAgamAlikA, a composition of Smt. Suguna was a nice ending.
Smt. Suguna was caught in the constraint of time from the end of anupallavi of "shrI subramaNyAya namastE". The tani was not fully finished. the korappu was done together. The tAnam was very short. Sri. Chandramouli on the violin was good at his saurAshtram AlApanai. He did a good job with kAmbhOji as well. His expansion of dharmavati was tending to the main artist's presentation. He just played one strech of tAnam. During the pallavi and svarams, he was missing it a few times. The percussionists were good all thro' the concert and both the tanis, the second being just 6-7 Avartams long.
Labels: Suguna Purushottaman, Vocal
posted by bharath at 4:52 AM
2 Comments:
I remember one Suguna Purushottaman kutcheri I attended in bangalore about an year ago. Her Kalyani RTP was in Saravanananda Taala (73 beats in one cycle if I remember correctly). She had read somewhere that dikshitar had sung such an RTP and she made her own pallavi praising Kamakshi (she assumed dikshitar would have sang in praise of Kamakshi alone). I remember the way of putting that talam was something like making idli maavu. It was brilliantly executed.
suguna mami sings pallavis in simhanandana talam, sarabananadana talam et cetra
There are wierder talams like misramukhi, panchamukhi, tisramukhi and so on which are also been used by stalwarts like Balamuralikrishna, MLV, suguna mami to sing pallavis...
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