T K Govinda Rao, Nada Inbam
T K Govinda Rao - B U Ganesh Prasad - Srimushnam Raja Rao
Nada Inbam, Raga Sudha Hall. 15 December 2005
abhimAnamEn - bEgaDa - Adi - paTNam subramaNya iyer (RS)
ikanaina nA - pushpalathikA - Adi - tirupati nArAyaNa svAmy (NS)
vEnkaTa saila vihArA - hamIrkalyANi - Adi (2) - subbarAya sAstri (RS)
bOgIndra sAyinam - kuntaLavarALi - kaNDa cApu - svAti tirunAL (RS)
kaNamum maravAdE - sAmA - Adi (S)
kArubAru - mukhAri - Adi (2) - T
R T P - tODi - catusra jAti tripuTa tALam (kaNDa naDai) 5 aksharam eDuppu
'neratA marulu koNTi vANipai sAla sadAnanda'
taniyAvartanam
pallavi continued in catusra jAti tripuTa tALam (tisra naDai) with 3 aksharam eDuppu
Adaya srI raghuvara - Ahiri - Adi (2) - T
manju nIhar - kAvadi chindu - rUpakam (tisra naDai)
pAhi rAmachandra rAgavA - yadukula kAmbhOji - tisra laghu
nI nAma rUpamulaku - saurAshTRam
The T K Govinda Rao concert at nAda inbam was one of the best concerts one has heard, to say the least.
The brisk bEgaDa short sketch and the kriti gave a brisk start to the kriti. The pushpalathikA piece which followed was good in all aspects. The neraval and svarams at 'karuNinci nIvu kApATa lEdA' were very well structured.
The hamIrkalyANi AlApanai was vintage stuff. One could clearly appreciate a classical difference in the AlApanai compared other AlApanais of the ragam. The kriti was rendered with a lot of bhavam. Svarams were rendered at both 'kaNTini kirini' and the pallavi line. Sri Govinda Rao was not satisfied with one round of svarams in both kAlams at the caraNam line that he sang yet another mutually exclusive set at the pallavi line. It was very enjoyable.
What was next was an elaboration of kuntaLAvarALi. The ragam which is usually considered fit for a filler or a tukkaDa did have scope for an AlApanai when the person singing is Sri Govinda Rao. The kriti and superb, well structure svaram which followed at the pallavi line were good.
The sAmA kriti was nice with svarams. The mukhAri kriti was moving and filled with bhAvam.
The main course of the concert was the pallavi in tODi. The two stage AlApanai would have been not less than 20 minutes. It was display of the capablities of the veteran, what is the exact way to sing each note of the rAgam was clearly shown while punctuating the AlApanai with quite a few classical phrases. The tAnam was good as it was rendered and was made better by Sri Raja Rao who provided very sensible accompaniment to the tAnam. The pallavi rendered in kaNDa naDai first and in tisra naDai after the tani was very good. One guesses, it to be an on the spot rendition. The anulomam, pratilomam part was also well executed.
The next piece was another surprise to me. Hearing a kriti as heavy as this Ahiri one, right after one hour and ten minutes of tODi was really exciting. The kriti was very well rendered and moving.
The kavaDi chindu and yadukula kAmbhOji piece were nicely rendered as well. Sri Govinda Rao had something different even in the always heard mangalam. His rendition of the piece in mEl sthAyi was amazing.
Sri Govinda Rao was his usual self on stage. Passing some comments on stage. His voice, with the usual restrictions, still could easily travel thro' the two octaves and showcase intricate phrases and sangatis all thro' the almost three hour concert.
Sri Ganesh Prasad was just sticking to the main artist in all aspects. He provided good accompaniment all thro' the concert and followed Sri Govinda Rao almost like a shadow in most occasions. His solo versions were also good.
Sri Raja Rao was on a mission to make the concert more enjoyable. His playing according to each sangati and the sensible accompaniment thro' the concert was very much appreciable. His accompanying the tAnam made it very much enjoyable.
Over all the concert was a display of what is good music and where it rests. Senior vidwans like Sri Govinda Rao are people whom we dont get to hear often. As pointed out by somebody in yet another thread about Sri Srikantan, even leading organisations like the Music Academy have forgotten veterens of the kind after decorating them with Sangeetha Kalanidhi. When one gets to hear people of this stature, one keeps wondering as to will it be possible of today's creme-la-creme to be consistent to this extent about half a century from now.
Nada Inbam, Raga Sudha Hall. 15 December 2005
abhimAnamEn - bEgaDa - Adi - paTNam subramaNya iyer (RS)
ikanaina nA - pushpalathikA - Adi - tirupati nArAyaNa svAmy (NS)
vEnkaTa saila vihArA - hamIrkalyANi - Adi (2) - subbarAya sAstri (RS)
bOgIndra sAyinam - kuntaLavarALi - kaNDa cApu - svAti tirunAL (RS)
kaNamum maravAdE - sAmA - Adi (S)
kArubAru - mukhAri - Adi (2) - T
R T P - tODi - catusra jAti tripuTa tALam (kaNDa naDai) 5 aksharam eDuppu
'neratA marulu koNTi vANipai sAla sadAnanda'
taniyAvartanam
pallavi continued in catusra jAti tripuTa tALam (tisra naDai) with 3 aksharam eDuppu
Adaya srI raghuvara - Ahiri - Adi (2) - T
manju nIhar - kAvadi chindu - rUpakam (tisra naDai)
pAhi rAmachandra rAgavA - yadukula kAmbhOji - tisra laghu
nI nAma rUpamulaku - saurAshTRam
The T K Govinda Rao concert at nAda inbam was one of the best concerts one has heard, to say the least.
The brisk bEgaDa short sketch and the kriti gave a brisk start to the kriti. The pushpalathikA piece which followed was good in all aspects. The neraval and svarams at 'karuNinci nIvu kApATa lEdA' were very well structured.
The hamIrkalyANi AlApanai was vintage stuff. One could clearly appreciate a classical difference in the AlApanai compared other AlApanais of the ragam. The kriti was rendered with a lot of bhavam. Svarams were rendered at both 'kaNTini kirini' and the pallavi line. Sri Govinda Rao was not satisfied with one round of svarams in both kAlams at the caraNam line that he sang yet another mutually exclusive set at the pallavi line. It was very enjoyable.
What was next was an elaboration of kuntaLAvarALi. The ragam which is usually considered fit for a filler or a tukkaDa did have scope for an AlApanai when the person singing is Sri Govinda Rao. The kriti and superb, well structure svaram which followed at the pallavi line were good.
The sAmA kriti was nice with svarams. The mukhAri kriti was moving and filled with bhAvam.
The main course of the concert was the pallavi in tODi. The two stage AlApanai would have been not less than 20 minutes. It was display of the capablities of the veteran, what is the exact way to sing each note of the rAgam was clearly shown while punctuating the AlApanai with quite a few classical phrases. The tAnam was good as it was rendered and was made better by Sri Raja Rao who provided very sensible accompaniment to the tAnam. The pallavi rendered in kaNDa naDai first and in tisra naDai after the tani was very good. One guesses, it to be an on the spot rendition. The anulomam, pratilomam part was also well executed.
The next piece was another surprise to me. Hearing a kriti as heavy as this Ahiri one, right after one hour and ten minutes of tODi was really exciting. The kriti was very well rendered and moving.
The kavaDi chindu and yadukula kAmbhOji piece were nicely rendered as well. Sri Govinda Rao had something different even in the always heard mangalam. His rendition of the piece in mEl sthAyi was amazing.
Sri Govinda Rao was his usual self on stage. Passing some comments on stage. His voice, with the usual restrictions, still could easily travel thro' the two octaves and showcase intricate phrases and sangatis all thro' the almost three hour concert.
Sri Ganesh Prasad was just sticking to the main artist in all aspects. He provided good accompaniment all thro' the concert and followed Sri Govinda Rao almost like a shadow in most occasions. His solo versions were also good.
Sri Raja Rao was on a mission to make the concert more enjoyable. His playing according to each sangati and the sensible accompaniment thro' the concert was very much appreciable. His accompanying the tAnam made it very much enjoyable.
Over all the concert was a display of what is good music and where it rests. Senior vidwans like Sri Govinda Rao are people whom we dont get to hear often. As pointed out by somebody in yet another thread about Sri Srikantan, even leading organisations like the Music Academy have forgotten veterens of the kind after decorating them with Sangeetha Kalanidhi. When one gets to hear people of this stature, one keeps wondering as to will it be possible of today's creme-la-creme to be consistent to this extent about half a century from now.
Labels: T K Govinda Rao, Vocal
posted by bharath at 11:47 PM
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